Entertainment Weekly's Scores

For 5,360 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 3.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Past
Lowest review score: 0 Assisted Living
Score distribution:
5,360 movie reviews
  1. What keeps the film humming along as smoothly as it does is the chemistry and charisma of its leads.
    • 56 Metascore
    • 75 Critic Score
    Happily, after a cartoon opening-credits sequence that overdoes it on the barf, Worms goes light (but not too light) on the gore and the goo.
  2. Never shocks or even offends by ascribing fully adult cruelties and erotic activities to obnoxious kids; such harshness wouldn't flatter a cast this moussed and magazine-layout-ready.
  3. In its wildly overwrought, burrito-Western way, is about as close to a home movie as you're likely to see in a megaplex.
  4. Once again Neeson is a straight-faced secret weapon. With his lion's roar and can-do fists, he grounds the film's more preposterous moments and makes them feel excitingly tense. At a certain point either you'll fasten your seat belt and go with Non-Stop's absurd, Looney Tunes logic or you won't.
  5. It's a heartfelt movie that could have used a zigzaggier undercurrent, though Olyphant, in the sort of role that Paul Newman used to swagger through, has a star's easy command.
  6. The mechanics of the actual plot are pretty amazing. Singer has assembled a top-notch international cast.
  7. It's a minimalist "Sideways," not so much mumblecore as talkycore.
  8. For this 21st-century Nick and Nora Charles, the flame is kept alive despite his nighttime anti-snore nose strip and her nighttime bite guard -- thanks to a shared appreciation of the hilarity of nose strips and bite guards.
  9. As misspent of an opportunity as The DUFF may be, it’s hard to completely dismiss a film that gives someone as talented as Whitman her long-overdue spotlight.
  10. This is the richest role Paltrow has had since ''Shakespeare in Love,'' and she rises to the challenge. She digs deep into Plath's mercurial nature, giving us a Sylvia who's fiercely independent and alive yet burdened with demons of insecurity that bubble up in a rage.
  11. Costner's surfer-bum affectlessness works here; he turns the Mariner into the world's most jaded lifeguard.
  12. In moments that have nothing to do with representing the weight of love (whatever that is), the film comes alive: when Ami Ankilewitz isn't a symbol - just a man who, for instance, loves a woman.
  13. Director Liv Ullmann's PBS-pretty adaptation of the 1888 August Strindberg play lacks brio but is compelling thanks to its three tough performers.
  14. Real Steel is directed by "Night at the Museum's" Shawn Levy, who makes good use of his specialized skill in blending people and computer-made imaginary things into one lively, emotionally satisfying story.
  15. The British illustrator’s process of creating his surreally deranged, truth-to-power cartoons is fascinating, but the rest of the film lacks the same mad spark.
  16. On the other hand, this proud graduate of the School of Cleary Classics wishes that, like the young heroine herself, Ramona and Beezus dared more often to color outside the lines.
  17. The signature Eastwoodian music that the director lays over the proceedings - piano tinkle, guitar pluck, and an echo of Rachmaninoff out of Noël Coward's Brief Encounter - can't hold the assemblage together.
  18. With no climactic showdown and no comforting revelation of motive or reassuring psychoanalytic diagnosis, the nerve-rattling potential of this sly, paranoia-inducing story may sink in only later.
  19. CQ
    Coppola, who has made clever music videos, including the one for Moby's ''Honey,'' clearly had a lot of fun detailing the mod cheesiness of this intergalactic period piece, though the satire would have been more ticklish if ''Austin Powers'' hadn't gotten there first.
  20. There are instances when the filmmaker tries for Western iconography and settles for ''Full Monty'' ingratiation.
  21. It's an energetic stunt of a movie, and it wants to make us sweat like it's 1974.
  22. A lot of good actors have gone to work for the Coens and ended up looking like puppets, but Hanks is too clever for that. He knows that he's playing a concoction rather than a human being.
  23. Educational and upstanding, a little overacted and more than a little overdramatized. But it's honorable.
  24. The characters are boiled down to their essentials, the humor is timelessly broad, and Jolie's at her best when she's curling her claws and elongating her vowels like a black-sabbath Tallulah Bankhead.
  25. The filmmakers can't decide whether to trust the period innocence of the book (and play down their casting coup) or let the young man rip as a preteen-babe magnet... So December Boys splits the difference -- safely, dully.
  26. Hunt's movie-directing debut frequently crackles with nice gags.
  27. Doesn't offer anything to adult viewers as thrilling, as shivery, as satisfyingly primal as Steven Spielberg's intricate predator choreography in the original ''Jurassic Park.''
  28. From the get-go, The Recruit is one of those thrillers that delights in pulling the rug out from under you, only to find another rug below that.
  29. A boggy mix of fact, fiction, and changeable wigs and beards worn by Heath Ledger in the title role, manages to shrink the grandness of the myth without clarifying our understanding of the man.

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