Entertainment Weekly's Scores

For 6,141 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 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Amores Perros
Lowest review score: 0 D.E.B.S.
Score distribution:
6141 movie reviews
  1. The Rocketeer is mostly an example of pop moviemaking at its most derivative.
  2. Most of the numbers in Rock of Ages are flatly shot and choreographed, and they look as if they'd been edited together with a meat cleaver. With rare exceptions, they don't channel the excitement of the music - they stultify it.
  3. If Take My Eyes explored how a woman could still feel for a man who abused her, it might have gripped us with its difficult truths. But the movie presents Pilar and Antonio's marriage as a stale, neurotic dead end.
  4. Slipshod rather than sly. There's no fury to the movie, repressed or otherwise, which may be why when the Revolution arrives, it has all the impact of a guillotine with a deadly dull blade.
  5. Soon enough it's back to stale jokes about spousal date nights.
  6. Stanley Tucci, Hope Davis, Anne Heche, and Sofia Vergara all pop up in glorified cameos and give the movie more fizz than their roles require. Which begs the question: Why would they sign on for such thankless, bite-size roles?
  7. Any random episode of Law & Order would be more sophisticated than this heavy-handed, moralistic Southern-lawyer corn pone, directed by Francis Ford Coppola.
  8. The directorial debut of actress Katie Holmes, starring herself as Rita, a drunk single mother living out of her car, is the latest well-intentioned yet lousy-with-clichés treatment in the hard-luck-woman subgenre.
  9. Young boys are the only suitable audience for Speed Racer, the elaborate live-action adaptation written and directed by "Matrix" creators Larry and Andy Wachowski. And even they might feel an urge to squirm.
  10. Feels cramped and underimagined. I think Judge is capable of making an inspired live-action comedy, but next time he'll have to remember to do what he does in his animated ones--keep the madness popping.
  11. It's a tale soggy with the kind of race/class lessons that Madea, the director-star's battle-ax alter ego, doles out far more handily (and entertainingly) in a single church-lady-from-hell zinger.
  12. It has been put together with just enough efficiency to qualify as an oddball labor of love.
  13. The biggest surprise in Shame is how distanced, passionless, and merely skin-deep the director's attention is - how little he cares about the subject of his own movie.
  14. Comes from the same jolly homage-to-schlock-shock producers who remade ''House on Haunted Hill,'' and the emphasis is shamelessly on ornate scares. But with its high-gloss cast and French art-house actor and director Mathieu Kassovitz (''Hate'') in charge, the movie also shoots for class.
  15. Colombiana is silly fun at first, but as her break-ins and escapes grow absurdly complex - and her motivations increasingly muddy - it turns into the same silly stuff we've seen before, a dish of revenge served not so much cold as reheated.
  16. It all works in theory. But the execution’s off.
  17. Anthony, with his famished thousand-yard stare, turns in a delicate -- perhaps too delicate -- performance more informed by the shadow of Lavoe's death than the spark of his art. And his shrill domestic scenes with Lopez feel small and squalid, as we wait restlessly for the band to play us out.
  18. Godard, as always, sounds full of insight, yet he uses the past to damn the present in a way that may be reflexively self-serving. In Praise of Love leaves a taste as bitter as poison ash.
  19. The director, Paul Schrader, tries for cleansing audacity, but ends up too close to farce.
  20. Pictorial but oddly muffled three-hour saga of romance and capitalism, not necessarily in that order.
  21. The unnecessarily famous cast for such a standard, creaking, fake-spooky ghost story (with Bible verses thrown in for good measure).
  22. Liman, for all his craft, doesn't have enough FUN with the premise.
  23. Just when you thought you’d erased the memory of Adam Sandler in Billy Madison playing a slobbo idiot who must prove he’s worthy of taking over his father’s business, along comes Chris Farley playing a slobbo ; idiot who must prove he’s worthy of taking over his father’s business. Yet this movie, unlike Sandler’s fiasco, does at least have a few scuzzy laughs.
  24. Ride Along 2, which moves the action from Atlanta to Miami, plays more like a remake than a sequel.
    • 56 Metascore
    • 50 Critic Score
    It's also supposed to be atmospheric, noirish, and touched with nihilism. But the director, Hollywood bad boy Dennis Hopper, lays it all on so thick that the film verges on self-parody.
  25. True Memoirs is harmless, disposable junk food that has just enough laughs to make you feel like you didn’t get scammed.
  26. The director's famously over-deliberate, pause-laden style verges, for the first time, on amateurville, and that gives us too much time to linger on the movie's more bizarre details.
  27. Trust, the cult-movie view turns precious and smug.
  28. As a fantasy, Orlando has been spun out of a rather glib idea: that the mere assertion of Androgyny As Destiny is automatically a brave, emotionally triumphant stance for our time. The truth is, when androgyny is shrouded in this much deadening ”art,” it becomes little more than a haughty exercise in academic chic.
  29. Creator producers Paul Germain and Joe Ansolabehere have come up with some unexceptional children and underdeveloped adults.

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