Entertainment Weekly's Scores

For 6,019 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 Short Term 12
Lowest review score: 0 Annabelle
Score distribution:
6019 movie reviews
  1. A Dirty Shame isn't dirty fun. It's the perv "Footloose."
  2. Evenness of political keel, combined with a generic filmmaking style, is an artistic weapon way too puny for a successful assault on so tough, bruising, and crucial a subject.
  3. The editing in Battlefield America is super-speedy: Each shot lasts about three seconds, and then it's off.
  4. The punchlines are as tired as Hogan looks.
  5. Welcome to the brave new world of slut-chic cosmetic feminism.
  6. You know what happens in Taken 2, don't you? The same thing that happened four years ago in Taken, but different. (But the same.)
  7. For a movie about the importance of objectivity, Truth feels like a biased and sanctimonious op-ed column.
  8. It is also glib, shallow, and monotonous, a movie that spends so much time sanctifying its hero that, despite his "innocence," he ends up seeming about as vulnerable as Superman.
  9. The visuals are a kick; the groan-inducing dialogue isn't.
  10. This is another found-footage movie that, with a little art direction and some actual cinematography, could easily have been a decent little terrorizer. Instead, it comes mostly unglued thanks to its hacky gimmick.
  11. It's left to Caine to wink and nod at his own contribution to real caper classics of the 1960s and '70s, produced with more emphasis on fun and less on instructive fact-finding.
    • 28 Metascore
    • 50 Critic Score
    That creaking noise you hear in Ghost Ship is the rattling of countless plot skeletons that have sunk before.
  12. Anderson's film is something to be experienced, like a psychedelic drug trip where the journey trumps the destination. Unfortunately, his journey just didn't do it for me.
  13. The difference between The Prince of Tides and a movie like Ordinary People is that Streisand isn’t content with exploring human pain. She had to make it glamorous, too.
  14. Too often, The Fourth Kind makes the paranormal look disappointingly normal.
  15. When the film version isn't assaulting you with gizmos, it's an awkward, depersonalized piece of hackwork.
  16. Even a filmmaker as dazzling as Steven Spielberg has to create characters who lure us into their point of view, and the trouble with Tintin is that we're always on the outside, looking in. What all that motion can't capture is our hearts.
    • 51 Metascore
    • 50 Critic Score
    Marshall cribs whole sections from other movies (Aliens and The Road Warrior, most blatantly) so baldly that you have to wonder how he'd like it if someone ripped off "The Descent" this egregiously.
  17. The Chamber goes so far toward humanizing bigotry it ends up sentimentalizing it.
  18. Cry_Wolf is underscored with idiot adolescent excitement (and gets extra absurdist points for casting Jon Bon Jovi as an educator).
  19. The comedic slaps are too limp to leave a mark. Director George Ratliff applied a much clearer eye to "Hell House," his chilling 2001 documentary about a real church.
  20. While Hudson's and costar Mary J. Blige's soulful, stirring musical numbers are absolute dynamite, the rest of the film's story is larded with enough soap opera twists and heavy-handed schmaltz that you'll feel like you're being bludgeoned with a hymnal.
  21. Lee Marvin, it must be said, is terrific as the platoon commander, and Fuller deserves props for the film's one sustained sequence: the D-Day attack, in which the platoon gets pinned on the beach for a hellish eternity.
  22. The magnolias in Callie Khouri's fried green movie look limp.
  23. Guy Ritchie's second feature, is a faux tough caper modeled lock, stock, kit, and caboodle on his earlier film ''Lock, Stock and Two Smoking Barrels.''
  24. An earnest, lumpy macramé of a personal nonfiction project.
  25. In the way of workaday flicks built around long-in-the-tooth badasses, Die Hard 5 leaves room for McClane to make a few jokes about his thinning hair and to rue that he wasn't a better father when his kids were growing up. Oh, boo-hoo.
  26. The goal of any manifesto is making its aims as clear as possible. But it’s never clear what this Manifesto is aiming for besides a cheeky roll call of intellectual camps. Ph.D.s in art theory will chuckle knowingly as everyone else eyes the exit.
  27. Falls short of its source.
  28. This strenuously dark biographical Western plays more like a choppy, self-important miniseries.
  29. Watch for the ''Mrs. Doubtfire'' syndrome: In Santa drag and padded for laughs, Scott demonstrates how to be a more sensitive, more funsy parent than boring old Mom.
  30. The director has said that the plot was influenced by a real English thief named Valentin who showed up at his door one day to repay money stolen a decade earlier.
  31. As the groom's brassy-babe stepmother, Demi Moore does her own share of scenery chewing, but at least she looks like she's having fun.
  32. Regrettably, the film's story is so busy yet flat that the effect isn't magical -- it's more like watching the tale of some very enchanted wallpaper.
  33. Ross wants to shake up the format­—notably with a few scenes set 85 years after the war—but like so many directors who have tackled ­historical social issues before him, he confuses noble, cornball sermonizing for art.
  34. Fathers and Daughters’ predictable plot keeps it from ever becoming a truly enjoyable tearjerker.
    • 42 Metascore
    • 50 Critic Score
    G
    "The Great Gatsby" was famously bungled in the pulseless 1974 movie with Robert Redford. G, which updates the story with an African-American cast, is another strikeout, further destroying F. Scott Fitzgerald's film batting average.
    • 36 Metascore
    • 50 Critic Score
    I especially like how, when Beckinsale's half-wolf, half-vampire friend Scott Speedman moves in for a kiss, you can hear the black leather of her dominatrix getup crinkle and crackle on the soundtrack like an old saddle. Sizzlin'!
  35. Each of these improv farceurs wins a few laughs. But not enough.
  36. Mark it: Phil Collins officially has nothing more to teach us. The tunes he's composed for Brother Bear are so generic, they're modular.
  37. Jammed with banner-ready political rhetoric, and the relentlessness of the lectures is wearying. The plot, on the other hand, is a standard contraption built on enduring urban anxieties and involving a nasty hotel-room trade.
  38. Chabrol has fashioned a mystery that caves in on itself, but unfortunately, it caves in on the audience, too.
  39. Stone's latest penance is Gloria, the Sidney Lumet-directed dud that sprung from the singularly bad idea of remaking John Cassavetes' oddball 1980 character study. I mean, really, did anyone even like the original?
  40. Having tamed one muscled man-child (Vin Diesel in The Pacifier), Disney sets its sights on The Rock. He preens winningly in The Game Plan.
  41. Irksome dither of an indie drama.
  42. To see this much austere vérité atmosphere propping up this much schlock romanticism is like biting into a blue-cheese canapé that turns out to be a fluffernutter.
  43. By the end, I was starting to ponder questions like, If a vampire mates with a lycan-vamp hybrid, which parent will have to convert?
  44. Director Miguel Ángel Vivas tries to add a family-drama twist to an otherwise standard survival story, but the characters aren’t complex enough (and the secrets aren’t explosive enough) to elevate this beyond a basic zombie flick.
  45. The resentments acted out at the dining table by the rest of this miserable family - gathered for a graduation celebration that turns into a wake - are so oppressive that Eugene O'Neill might ask, ''Too much?''
  46. The cockeyed C-quality B movie, shot on location with a Balkan supporting cast and crew, mixes a precarious pileup of visual clichés with over-staged action sequences.
  47. Like its predecessor it’s an unremarkable placeholder until the next "Mission: Impossible" flick comes along.
  48. If Tyler Perry ever wanted to turn "Dog Day Afternoon" into a treacly after-school special, it would probably end up looking a lot like this.
  49. No less sweet for being unoriginal: A guy (Charlie Sheen) mourns a bad breakup with the woman he loves (Katheryn Winnick). The execution, on the other hand, is perilously self-absorbed.
  50. Ends up about as exotic as a straight-to-cable potboiler.
    • 34 Metascore
    • 50 Critic Score
    The actors (especially Alec Baldwin, as Tank's horndog dad) elevate the material slightly, but such piffle will just fill you with longing...for a better movie.
  51. The Tourist isn't a debacle, but it's a caper that's fatally low on carbonation.
  52. Director Joe Angio presents the group's music with the contagious enthusiasm of a diehard, but exuberance is no substitute for storytelling, and Revenge of the Mekons is in desperate need of a narrative path.
  53. The mix is Lifetime soap–meets–Woody Allen smart-set comedy, with less humor and a genteel Connecticut setting.
  54. You'd have to be a stone not to be affected by My Flesh and Blood, but the director, Jonathan Karsh, merges compassion with voyeurism until you can't tell the difference.
  55. Will Smith, taking a break from summer sci-fi smashfests, certainly shows a gift for modulation. Far from coasting, he plays a world expert at romance by ratcheting his charm up and down in supple, exacting degrees.
  56. Just about the only way to make sense of the film is to view its Christian family the way that the director, James Marsh, does -- with a contempt masquerading as social criticism. William Hurt, for one, deserves better.
  57. It's a schlockier ''Armageddon'' crossed with ''Fantastic Voyage,'' minus the fun.
  58. A needlessly frenzied, pseudo-raunch comedy that whips up a whole lot of R-rated antics only to arrive at crunchy PG-13 lessons in love and tolerance.
  59. I'm confounded by the fact that, aside from the Pevensie siblings and their nicely obnoxious cousin, absolutely everything and everyone aboard the Dawn Treader looks one-dimensional.
  60. Some, no doubt, will find Lowery’s playfully surreal experiment (a ghost story told from the POV of the ghost) haunting, lyrical, and moving. Others (ahem, guilty as charged) will just find it maddening, inscrutable, and alienating. Check it out, then take your side in the debate.
  61. Life desperately wants to let Murphy and Lawrence be actors, but it can't imagine them as anything more than rowdy showmen. That's a kind of prison as well.
  62. Ari Folman's meta-commentary on Hollywood in the soulless digital age starts off promisingly, like a Charlie Kaufman mind scrambler. But then it spirals into logy animated nonsense.
    • 9 Metascore
    • 50 Critic Score
    The film's moral? Turn off the TV, young 'uns, and go outside and play! And avoid Superbabies: Baby Geniuses 2 matinees while you're at it.
  63. One by one, each scene goes slack as the script struggles with Screenwriting 101 problems like who the main character is and what he wants -- not to mention why any of us should care in the first place.
    • 43 Metascore
    • 50 Critic Score
    Quiet and sleepy.
  64. Noah Baumbach’s latest wisp of privileged New York whimsy vaporizes on arrival.
  65. The hero himself has been denatured for a young, late 1990s audience with little appreciation for real suavity or sex play.
  66. You could dismiss this swankily shot Latin American trifle as an upscale soap opera, but that would be an insult to soap operas.
  67. Malty brew of heroics and minutiae.
  68. The aerial-dogfight scenes, which are beautiful and shot through with jittery panic, are notable for not being staged for videogame kicks.
  69. There's barely a trace of the magic of 1939's "The Wizard of Oz"; the bricks are still yellow, but the road doesn't lead anywhere special.
  70. The plot is more confusing than clever, and the only actor who seems to be having any fun is Silver, who's at his best throwing masochistic hissy fits at his younger, not-quite-so-evil self.
  71. One of those terminally annoying, depressive-yet-coy Sundance faves in which the tale of a mopey teen misfit unfolds behind a hard candy shell of irony.
  72. Thor's Chris Hemsworth leads the pack as a high school football star-turned-Marine, while Josh Peck plays his stubborn younger brother. There's also a collection of junior guerrillas, including The Hunger Games' Josh Hutcherson and Friday Night Lights' Adrianne Palicki. Take that, screaming North Koreans with no agenda!
  73. Demagogic shallowness has its appeal, and Falling Down could turn out to be the Network of the '90s. By the end, you may wish he'd just gone home and popped a couple of Excedrin instead.
  74. This is a movie so devoted to metal that it couldn't care less about the flesh it destroys.
  75. The characters twirl around like mini tornadoes, but between random brash moments of technological eye-tickling, Son of the Mask sags more than it spins.
  76. An unabashed descendant of "Bring Me the Head." This time, though, it's an entire corpse that gets hauled through the desert, and that's not all that's being toted. So is a hefty parcel of racial correctness.
  77. Takes a misguided swerve into the current downtown New York rock scene, so that it can spend more time preaching about the anarchy of the good old days than it does revealing them.
  78. Best to experience Shaker Heights for what it is: not a movie, exactly, but the true season capper of ''Project Greenlight,'' a series that finds its very drama on the road to mediocrity.
  79. The strange thing about Kindergarten Cop is how quickly it abandons its own concept. No sooner has Arnold gotten into class than he's yanked back into the mechanics of the movie's generic thriller plot. Perhaps this wouldn't be as noticeable if there were a few more sparks between Schwarzenegger and the kids.
  80. It seems to have been made by people who couldn't decide if their film was a horror flick, a whodunit, or a "Hellboy" knockoff.
  81. Cotillard, with stringy long hair and a coal fire of severity in her eyes, has what it takes to play a woman who feels that she's lost everything. But she's forced to flail and mood-swing from scene to scene. In an insult to the disabled, there is never much to her but her hellacious injury.
  82. An act of nose-thumbing that never quite figures out how, or even where, to position its thumb.
  83. A feel-good movie that doesn't give you enough to feel good about.
  84. Yes, You Again. We've met before.
  85. If you think it all adds up to a bald-faced rip off of ''The Shining,'' you'd be right, with a crucial difference: Wendigo trades the puffed-up metaphysics of middle-class murder for the no-budget spectacle of...an incredibly fake-looking monster deer.
  86. The numbers, while lively, remain cluttered and stage-bound. The women, however, are spirited and sexy.
  87. Rio
    The soundtrack, overseen by Sergio Mendes, has a few lively bossa nova moments, but not nearly enough.
  88. It's been a while since we saw a bad John Hughes comedy, and Are We There Yet? more than fits the bill (even though Hughes had absolutely nothing to do with it).
    • 49 Metascore
    • 50 Critic Score
    Kind of like a feel-good "Saw" for churchgoers, minus the sadistic games of death.
  89. Examination of one of the English language's most useful utterances and why the sound packs such a friggin' wallop.
  90. 12
    Has none of the crisp passion or suspense of the 1957 Sidney Lumet version; it's bloated, heavy-handed, and lugubrious.
  91. A derisively vicious show-off satire, a plastic exercise in authority bashing.
  92. The movie is short on wisdom, but it might have gotten by if it had had better filth.

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