Entertainment Weekly's Scores

For 5,827 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 The Beaches of Agnès
Lowest review score: 0 Three to Tango
Score distribution:
5827 movie reviews
  1. [A] gimmicky actors' holiday.
  2. By the end, every child in the audience will want his or her own monster-minion toy. Adults will just regret the way that Despicable Me 2 betrays the original film’s devotion to bad-guy gaiety.
  3. One more case of a winning ''SNL'' character tamed by the wan, fizzled farce around him.
  4. Gandhi tries to dodge criticism of his mocking scam by rationalizing that even a phony wise man can offer real solace.
  5. XXY
    It's set at a beach house, but we see only gray skies, and though Efron has a wary and cutting intelligence (it matches that of the fine actor Ricardo Darin, who plays her father), the effect is tepid and damp.
  6. At no time do the men -- that is, the straight ones -- believably hold the upper hand. In the new town of Stepford, there's no bitterness, no struggle, no competition, none of the scars of the sexual revolution. There's just gay apparel.
  7. Fourteen years after "Happiness," why is director Todd Solondz still mucking around with the sort of idiot neurotic dweeb who makes George Costanza look like George Clooney?
  8. The problem isn't so much what the film is saying but its shrill, alarmist tone. You don't have to be a sociological genius to look at all of us walking down the street like zombies, obliviously staring at our smartphones, and know that something's wrong.
  9. Everything old is old again in this rickety extension of 2002's already rickety "Van Wilder."
  10. Ends up blowing its own joke. Instead of making Joe blissfully arrogant in his Southern rock dude myopia, it turns him into a shuffling masochistic loser.
    • 42 Metascore
    • 50 Critic Score
    The Boy, from director William Brent Bell, aims to set itself squarely in the fictional canon of "Chucky" and its brethren, but it ends up trying to do so much that it forgets to scare us.
  11. In one of his final roles, Philip Seymour Hoffman stars as a man whose no-good stepson is killed on a construction job, while John Turturro, Richard Jenkins, and Christina Hendricks round out a formidable cast that isn’t given much to work with.
  12. The teachers (including original cast member Debbie Allen as school principal) turn out to be the best part of the show.
  13. Not until the last 20 minutes does Gozu come fully alive. A man has sex with a seductive beauty, who then gives birth to...well, let's just say it's a sight that may take time to fight its way out of your head.
    • 31 Metascore
    • 50 Critic Score
    Playing a sleazeball who has stumbled upon an excellent excuse for his bent, Cage holds the movie together as best he can. More important, he nails down his unique approach to acting, managing to be simultaneously stylized and naturalistic. [7 June 1996, p.66]
    • Entertainment Weekly
  14. You can forget about veracity, since this gauzy and sometimes dopey romanticization can't be trusted.
  15. Mandy Lane does eventually build to a whiplash twist ending, but it's too little, too late — much like the film itself. Here's a case where the backstory is more interesting than the movie.
  16. The plot is a nonsensical mess -- which just caps off the ugliness.
  17. This clumsy, cheesy, chintzy adaptation, with its F/X that look dated the moment you see them, is like something left over from the '60s.
  18. The accountant in Bloom would probably approve of the new Producers: It's an efficient extension of a popular brand. In theory, what's not to like? In reality, the whole schmear.
  19. A trashy, frenetic remake of Fred Zinnemann's 1973 The Day of the Jackal, The Jackal is mired in blood, cheap shocks, and a random network of improbability.
  20. Dudsville.
  21. About the only thing the movie kills with any decisiveness is your time.
  22. The young cast is terrific, giving the stories unearned weight.
  23. Shyamalan's most alienating and self-absorbed project to date.
  24. Turns out to be just another dud in the genre of revisionist mysteries that have been messing with our heads since Haley Joel Osment saw dead people. Only this time, the big reveal doesn't so much twist the plot as snap its neck.
  25. The comedy here isn’t very funny and the drama isn’t very sharp.
  26. After an hour of inert exposition, a race through Shanghai gooses the movie alive. Then it plunges back into torpor.
  27. Directors Zeke and Simon Hawkins add air-quote references to Jim Thompson, Steven Soderbergh, and the Coen brothers but are too proud of the movie's twists to make them truly snap. Call it "Blood Simple-ton."
  28. Daniels plays Arlen with a kind of cuddly crankiness; he makes him a jerk who just needs a hug.

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