Entertainment Weekly's Scores

For 5,940 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 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Being Elmo: A Puppeteer's Journey
Lowest review score: 0 What the #$*! Do We (K)now!?
Score distribution:
5940 movie reviews
  1. Tower Heist is the cinematic version of a Trump property: overblinged, eye-catching, and essentially tacky.
  2. There’s a real story of American heroism somewhere in here, but it’s diluted by Bay’s worst tendencies.
  3. The movie represents an earnest effort to compensate for all the love the media has shown to firefighters and other land-based first responders in recent years with little thought to the Coast Guard; the drama also crashes on wave upon wave of clichés.
  4. The Mask, a rattletrap Jekyll-and-Hyde farce, surrounds Carrey with a nothing plot and a cast of ciphers. Still, his scenes as the Mask are rowdy and enjoyable.
  5. With a cast as daring and quick as this one, Ghostbusters is too mild and plays it too safe.
  6. Mildly cute, mildly drooly, majorly too late spoof/homage.
  7. Everything about Foster's ocular intensity is riveting, but little in this hushed vigilante drama makes sense.
  8. As the players enact the fall and rebirth of civilization, Meirelles suggests that even a society gone to hell looks better with a little music-video-like pizzazz.
  9. The story is so bored with itself, it collapses -- but the diverse troupe of dance talents at least makes it an eclectic slide.
  10. Simplest of its charms is the opportunity to watch Mortensen adapt his charismatic demeanor of wary, taciturn soulfulness from that of a Middle-earth king-in-waiting to one fitting a half-Lakota horseman in 1890.
  11. A decent disaster pic comes down to the handful of colorful individuals who will live (or, depending on the prominence of their billing, die), as it has since the days of chewy disaster meatballs like ''The Towering Inferno'' and ''Earthquake.'' And the heaviest lifting in Emmerich's production falls to Dennis Quaid and Jake Gyllenhaal.
  12. The screenplay, by Zemeckis and William Broyles Jr., plumps Van Allsburg's simple fable about the purity of childhood faith in what can't be seen with all sorts of wholly invented characters, complications, and declarations.
  13. It's not the fault of "The Sopranos" charismatic, beefy star (Gandolfini) that he's an actor of such substance and quiet ardor as to make idle movie star ribbitting look frivolous.
  14. Never harmonizes into a cinematic experience any more resonant than the average, manly, why-we-fight pic, or coalesces into a stirring cry for freedom.
  15. The brittle, very ''written'' catty quips meant to characterize Washington hypocrisy sound perfunctory; the story of an aging, self-hating homosexual who goes home alone to his lacquered town house feels ancient as well as uncomfortable for the writer-director. (Harrelson seems both game and ill at ease.)
  16. Less classic Mel Brooks than middling "Best Week Ever."
  17. Basically, it's "The A-Team" meets "Rambo" meets "Mission: Impossible," with a mission that's one part trickiness, four parts blowing stuff up.
  18. When it's dull, which it is too often for a kidnap caper, this movie is about a woman chirping ''notice anything new about my outfit?'' to a man whose idea of style is a jacket not crusted in human blood.
  19. A fake street drama that keeps telling you things instead of showing them, though Mekhi Phifer, playing a hustler who loves the life, is electric and true.
  20. In ''Ordinary People,'' at least one character -- Mary Tyler Moore's -- had to fall so that the others could survive. In Moonlight Mile, no one gets shut out of the hug cycle.
  21. An intermittently affecting, sanded-edge adventure that feels as if it trundled off the studio production line back when Eisenhower was in office.
  22. A tawdry excuse for a movie, but it has a handful of shameless giggles.
  23. A few wild, third-act twists give Perry's middling melodrama some soap-opera kick. But all the finger-wagging sure does get tiring after a while.
  24. Allen isn’t completely on autopilot here. There are a couple of sharp, sting-in-the-tail twists near the end, and Phoenix is at least interesting. But Irrational Man would be lesser Woody even if we hadn’t seen most of it before.
  25. 27 Dresses is a movie geared to a pitch of high matrimonial-princess fever.
  26. Radio is assembled from small, hard stones of ignorance and intolerance paved over by large, mushy examples of community goodness.
  27. Van Damme and his cronies (including Lela Rochon, Paul Sorvino, and, for no immediately graspable reason, Rob Schneider as Van Damme's rabbity sidekick) race, speed, shoot, chop, and zip through scenes of such festive mayhem, plot is a clunky afterthought, like a lopsided fake Prada label on a cheap nylon knapsack.
  28. It’s a decent critique of romance in the digital age—until you realize how boring it is to watch people break up on Facebook.
  29. There's nothing particularly revolutionary about writer-director Robert Edwards' grimly satiric political fable.
  30. Andy Garcia reminds you of what a cunning, likable actor he can be.

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