Entertainment Weekly's Scores

For 5,417 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 Affliction
Lowest review score: 0 See Spot Run
Score distribution:
5,417 movie reviews
  1. Perry is of the spell-everything-in-capital-letters and act-it-out-loudly schools. Yet his sensitivity to women is a tonic.
  2. The movie is on some level a stunt, but it has the fervent, sun-dazed pull of an authentic experience unfolding in real time, with glints of drama, comedy, and terror mixed into the almost-but-not-quite tedium.
  3. The superb character actor Celia Weston (In the Bedroom) is truly breathtaking as Ronnie's boozer mom.
    • 54 Metascore
    • 83 Reviewed by
      Ty Burr
    The improvisations are a mixed bag -- Reed and Fox are surprisingly hilarious, while Roseanne is a shrieking horror show -- but the air of gentle play and a wistful sense that Brooklyn is some kind of lost Eden put this one up on the more structured "Smoke."
  4. This movie is as packed with flashy bogusness as a lead singer's tight leather trousers. On the other hand, there's nothing bogus about the charisma and tough sweetness of Wahlberg.
  5. Agreeably skewed fun.
  6. To Winn-Dixie's great credit, both as a book and as a dandy, dignified movie, there's nothing condescendingly lesson-like in the wisdom India acquires.
  7. Vacancy is a schlock surprise: a no-frills motel-hell slasher film -- with a bit of soul.
  8. The movie is, in short, a trash conundrum. What nearly redeems the movie is its acting.
  9. Wolf Creek, an unusually crisp and boldly shot "Texas Chainsaw Massacre" knockoff, looks as ancient and patterned as a druidic ritual.
  10. Webber has a knack for bringing out actors at their showiest, but he palms off too much first-draft sketchiness as ''ambiguity.''
  11. While mean girl Avery Keller (Hunter King) gets a nuanced and surprisingly redemptive arc, the target of her bullying, Jessica (Lexi Ainsworth), mostly goes ignored.
  12. It's a pleasure to encounter a confectionary love story in which a man and woman of age and experience discover feelings that youth, more and more, has a patent on in Hollywood.
  13. Makes shameless use of tried-and-true elements -- but it's hardly the same old song.
  14. The film is a sobering chronicle of the depressing circus of persecution and pseudo-scandal that was the Clinton years. But why did the President provoke such ire? A movie with insight into that might actually feel new.
  15. Even when nothing is happening, the often dead-silent shots tend to grow scarier the more you look at them.
  16. If all this sounds like a souped-up episode of "The Twilight Zone" or "The X-Files," then you're in the right ballpark — or underground bunker.
  17. I knew perfectly well, after a while, what Sinister was going to scare me with. But I got scared anyway.
  18. The more I sat through it, the more it won me over in its very benign high-concept way. It's like "City Slickers" remade for the Discovery Channel.
  19. As a movie, Wayne's World isn't much more than an amiable goof, yet it's carried along by the flaked-out exuberance of its two stars.
  20. A muscular, ardently naturalistic retelling of the ninth-century Anglo-Saxon saga.
  21. The movie luxuriates in cinema references while laughing at its own fetishes -- a neat talent.
  22. The hoot and giggle of a girl-power fairy tale blended from potions of ''Monty Python,'' ''Queer Eye for the Straight Guy,'' and ''Shrek.''
  23. Hits you on the head until you laugh.
  24. Williams gives an inspired comic performance. Unfortunately, he outclasses the movie, which is basically a patchwork rip-off of Tootsie.
  25. Soul Surfer, while formulaic in design, is an authentic and heartfelt movie.
  26. It would make for a pretty ghastly pageant if not for smart, understated turns by Watson and Geoffrey Rush as the charmingly Teutonic couple who rescue both Liesel and a stranded Jew (Ben Schnezter) — not to mention the movie itself — with honorable matter-of-factness.
  27. A movie that taps directly back into the show's primal appeal, which is the sweet, sad, saucy delight of sharing these women's company.
  28. Quarantine director John Erick Dowdle and co-writing brother Drew wisely stick close to the told-from-the-cameraman's point-of-view template of the terrific original, though they add a few fine flourishes.
  29. A thriller that holds less interest - and less water - the more it reveals about what's actually going on.

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