Entertainment Weekly's Scores

For 5,826 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 Elegy
Lowest review score: 0 Garage Days
Score distribution:
5826 movie reviews
  1. Even the championship showdown feels polite.
  2. Cold Weather becomes the world's first mumblecore "thriller" - a good idea for a movie that someone, in the future, should execute a bit less lackadaisically.
    • 49 Metascore
    • 58 Critic Score
    The overfamiliar Open Season feels like just another CG 'toon in our 'toon-glutted times.
  3. Gere taps into his charismatic-weasel mode, but director Gregory Hoblit fills the big screen with excellent TV actors (Andre Braugher, John Mahoney, Maura Tierney) and then gives them nothing interesting to do.
  4. A disconcertingly jumpy tale of breathtakingly crummy parenting, the windblown movie dares a tolerant audience not to call Child Services.
  5. A tastefully overbearing franchise fairy tale with a handful of ravishing touches.
    • 73 Metascore
    • 58 Critic Score
    Nyong’o’s gravitas is undercut by a script teeming with wooden platitudes, special lessons learned, and the overbaked dialogue of a Joan Crawford melodrama.
  6. An alarming male wallow passing as a fetching date-night dramedy.
  7. The Peoples Temple congregation was sizably African-American. But when it comes to how those followers turned into a zombie Kool-Aid death cult, Jonestown: The Life and Death of Peoples Temple leaves you with more questions than you went in with.
  8. The Hateful Eight doesn’t have enough ideas. Set almost entirely in a snowed-in saloon, the story’s so spare it doesn’t warrant either its three-hour running time (including an overture and intermission) or his use of 70mm projection. It’s narratively and visually claustrophobic.
  9. Timing is everything. And Youth in Revolt is late -- arriving not just at the tail end of the star's sell-by date for this particular kind of character, but more importantly at the tail end of the intended audience's attention span for an inconsequential Sundance-y tale of sexual coming-of-age.
  10. It's easy enough to accept the romantic-comedy luck of the two finding each another. It's much tougher, and ultimately useless, to buy everything else about this fairy tale of self-reinvention in a stalled economy.
  11. For a while, the movie has a cat-and-mouse appeal - it's like "Hard Candy" crossed with a smaller-scale "Deathtrap." Pierce acts with an enjoyably testy flamboyance, but by the time he starts to imagine that his guests have arrived even though dinner's been canceled, the film has given him one loose screw too many.
  12. Turtles is head-and-shell better than "Transformers." Cowabunga?
  13. There's something sweet about the way that Murphy throws himself into this piffle. Thomas Haden Church does too.
  14. Has a few viciously funny moments.
  15. The effect-laden showdowns feel more dutiful than daring, and the rare moments of fun are parceled out frugally, like precious nuggets of adamantium.
  16. Nothing in the two snail-paced hours of Pulse makes close to a shred of sense?
    • 45 Metascore
    • 58 Reviewed by
      Ty Burr
    The pacing is lumpy, the acting's all over the map.
  17. You know what you want to see if you want to see The Notebook...You want to see girls in pretty 1940s dresses, soldiers in stirring World War II uniforms, handsome automobiles and equally handsome Southern landscapes. You want to see romance overcome adversity.
  18. Agreeably mindless generation-next trash, but it leaves you hungry for a movie in which the characters are more than walking screenwriter index cards.
  19. Shortbus is chipper, it's fresh, it emits a distinct musk of controversy. I'll take the longbus.
  20. As with most of his films (Madea-centric and otherwise), subtlety isn’t Perry’s strongest suit. He tends to hammer his audience over the head with canned sentimentality, lazy stereotypes, and easy uplift.
  21. Wayne's World's Penelope Spheeris directs and also plays herself, in a movie with a message as self-congratulatory as it is meta: All problems are surmountable when selfless Hollywooders work extra, extra hard, pulling together ''for the kid.''
  22. It's a tease of a satire that never really follows through on its audacious premise.
  23. A threadbare crazy-quilt of Spanish sex comedies, Queens wants desperately to be "Women on the Verge of a Big Gay Wedding."
  24. Best in show is the divine Gillian Anderson as a powerful celebrity publicist, editing the image of her clients in much the same way this adaptation tames Young's much pricklier book.
  25. Too bad the story's such a mess.
  26. From its jokey, one-note characters to its endless baseball montages, A League of Their Own is all flash, all surface.
    • 61 Metascore
    • 58 Critic Score
    It's a tribute to the actors' appeal that they can sling this hash and keep our sympathies, but they can't squeeze much drama from pure soap.

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