Entertainment Weekly's Scores

For 5,805 reviews, this publication has graded:
  • 68% higher than the average critic
  • 2% same as the average critic
  • 30% lower than the average critic
On average, this publication grades 3.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Blue Jasmine
Lowest review score: 0 The Human Centipede III (Final Sequence)
Score distribution:
5805 movie reviews
  1. A frustratingly inert story, a bookend to last year's wooden ''Captain Corelli's Mandolin.''
  2. With Intolerable Cruelty, though, something scares me: I cannot detect a heartbeat of feeling, no matter how close I press a stethoscope against the star machinery of George Clooney and Catherine Zeta-Jones.
  3. Living Out Loud is like "An Unmarried Woman" recast as a sitcom-cute update of Marty.
  4. A histrionic mess.
  5. Who knows whether the project is meant to be earnest, ironic, post-ironic, made for adults, made for kids, made to teach lessons, or made to be watched in an altered state? All or none...jeez, this thing is one bumpy ride.
  6. The stab at sublimity-by-proxy doesn't take.
  7. "The Station Agent's" Peter Dinklage provides diversion as a gay wedding planner.
  8. The movie, directed with a gym teacher's whistle by "Scooby-Doo's" Raja Gosnell, is a contempo soft-focus remake of the 1968 original starring Lucille Ball and Henry Fonda.
  9. The film comes off as an elaborately didactic and overheated lecture.
  10. He squeezes a bit of suspenseful juice out of the old plot, and Douglas makes smarm a chewy pleasure, but this is a noir in search of a hero we can root for because we actually buy what he’s doing.
  11. There may be nothing more fun for actors than experimental exaggeration, especially when filming on a Caribbean island. But there’s nothing that makes an audience feel less welcome than not being in on the joke.
  12. The only fun is in watching Stallone square off against Alan Cumming and Mickey Rourke.
    • 36 Metascore
    • 50 Critic Score
    A movie that reduces history, as well as eros, to a postcard.
  13. TV's ''I Spy'' knew how to swing. The movie 'I Spy knows only how to scramble and string together moments of Murphy braggadocio and Wilson stoner-ocity, and the sweat shows.
  14. A conflicted entertainment, compromised by trying too hard to impress the restless, self-referential adults in the audience.
  15. A thriller primarily about the movement of Cindy Crawford's breasts beneath a succession of ever-smaller T-shirts.
  16. Walker is supposed to be lured by the buried treasure, but the actor, wearing Brad Pitt's bristle cut, is like Pitt with his sexy appetite sucked out.
  17. The big underachiever turns out to be DeVito, who is incapable of exhibiting believable warmth and complexity, or, indeed, of playing anyone who is not a cartoon.
  18. Bride Wars pretends to be a satire of wedding mania, but since there's virtually nothing else to the movie, the satire comes depressingly close to endorsement.
  19. Its tone is stilted and mannered -- and most of it seems a bit loony.
  20. More calculated than a Starbucks sampler CD, the picture could win the up-from-hardship award.
  21. Writer-director Sandra Goldbacher, a former BBC documentarian, fills the film with arid pauses, creating a claustrophobic study in ''repression.''
  22. The film's generic feminism pales beside its bloated sense of privilege, only underlined by a nonstop cabaret of sideshow acts.
  23. The two stars appear to be as bewildered by the turn of events as we are.
  24. Killer Joe throws down a dare by expecting its audience to be the cool connoisseurs of the story's "comic" outrageousness, then rubbing viewers' faces in close-up scenes of brutality that reasonable people ought not to be able to watch. That up-close experience, however effectively done, is a movie specialty that's its own kind of mean.
  25. Mostly an epic rehash of the tale Larsson has already told, and that makes it, at two hours and 28 minutes, the first movie in the series that never catches fire.
  26. Like a naive modernist hymn made by someone who doesn't, deep down, believe in hymns.
  27. With an ace troupe like that, there are affecting moments, to be sure. But the movie criminally wastes Sam Neill and Rosamund Pike in barely there supporting roles, and the picture has exactly two tones: grim and gooey. They do not coexist harmoniously.
  28. It's too bad that the film was directed by the Norwegian minimalist Bent Hamer (Kitchen Stories), who makes a fetish of building scenes around silence.
  29. Waving a dubious flag of feminist inclusivity, Cole and screenwriter William Ivory turn cartwheels insisting that girl power, even in the 1960s, trumped class divisions.

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