Entertainment Weekly's Scores

For 5,995 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 3.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Red Turtle
Lowest review score: 0 The Hottest State
Score distribution:
5995 movie reviews
  1. Dopey, not dope.
  2. It's a slow-burner that burns so slowly its wick completely fizzles out.
  3. Director John Singleton offers bits of suspense, but Abduction is less a movie than a piece of engineering, a glumly ludicrous cat-and-mouse blowout designed to win Lautner male fans along with his girl demo.
  4. It's all very sincere, but watching a dweebish depressive learn that Life Is Good is a lesson of diminishing returns.
  5. The truth is, the freakiness kinda turns the director on, and he nearly strangles Suspect Zero with love.
  6. The film has flashes of psychedelic visual energy, but its story is limp.
  7. Seyfried works hard for your empathy, with the same naïveté that helped secure Boreman's rep as the ''sexy Raggedy Ann.'' And Sarsgaard is perfect for this role, oozing '70s sleaze in all its mustache-smoothing glory. But even they can't add depth to this sad story.
  8. Annabelle: Creation isn’t a terrible film. Not exactly. The set-up is promising, and it offers some decent early jump scares. But eventually the thinness of the material becomes overwhelmingly obvious.
  9. A Soldier's Daughter Never Cries is suffused with a rarefied emotional glow, and that's something contemporary audiences may be almost desperate to respond to. Yet the movie is also tentative, rambling, and maddeningly shapeless.
  10. Higher Learning starts out as a liberal message movie, but it turns into a demagogic rabble-rouser, a shrewdly incendiary exploitation of these wayward days of rage.
  11. Watching the movie, it's hard to imagine why anyone would dream of going back there.
  12. In short, this Josh Trank-directed reboot had a very low hurdle to overcome to become the best FF movie so far. The most fantastical aspect of the movie is that it may not achieve that goal.
  13. Indecent Proposal starts out kinky and turns into a languid-and shockingly banal- domestic soap opera.
  14. Despite some sizzle with love interest Mekhi Phifer, the alluring Alba ends up a desexualized mouthpiece.
  15. Thérese unfolds with the sunlight-and-daffodils piety of a Sunday school slide show.
  16. This rusted-future comic strip comes at you in shards -- exhaustingly derivative images of mayhem and titillation, with Lee, in her bad-girl bondage gear, as its blank vixen. If you didn't call her babe, she wouldn't exist.
  17. The film is so self-conscious it seems to be dictating your every reaction.
  18. I'm disappointed to report that Hudson and Watts have no chemistry as sisters, perhaps because Watts never seems like the expatriate artiste she's supposed to be playing.
  19. It's every bit as nonsensical and overitalicized a mess as ''The Whole Nine Yards.''
  20. With no thriller cliché left unused, the gaily outlandish plot is matched by tin-eared dialogue, ripe tough-guy overacting from the very game Pearce, and best-that-she-could acting from Grace.
  21. This voyage is strictly one for the disposable present, however quaintly old-fashioned the hand-drawn work that the animators have blended with 3D effects. (Tots will twitch during the grown-up relationship parts, and teens will groan at the kiddie sops.)
  22. No maid, and no fancy lady either, would swoon for a fellow as damp as the hero so grudgingly coughed up by Fiennes. In the words of Cinderellas everywhere, no effin' way.
  23. The Comedy pretends to be a satire of entitlement, but it's made in a style so indulgent that the whole film feels entitled in the extreme.
  24. The movie’s silly-arty aesthetic is regurgitated Polanski, and there’s a shameless script steal from "Presumed Innocent."
  25. The real crime is the way that the movie turns Gael García Bernal, the hot-tempered, Roman-lipped costar of ''Y Tu Mamá También, into a backwater Freddie Prinze Jr.
  26. The local multiplex is lousy with celluloid crime fighters. So what turf is left for good old Clark Kent? That's the nagging question that director Zack Snyder's Man of Steel tries — and ultimately fails — to answer.
  27. Has no pretentions to be anything more than a goose-bumpy fantasy theme-park ride for kids, but it's such a routine ride.
    • 32 Metascore
    • 50 Reviewed by
      Ty Burr
    Shabbily filmed, thoroughly harmless Official Product.
  28. Saldana (Avatar, Guardians of the Galaxy) is an accomplished and bankable actress, but she doesn’t look much like Simone. That has led to several complaints, including from the Simone estate.
  29. The movie, by Dutch director Jan Kounen, is all surfaces, set pieces, Significant Looks, and voguing -- the same strictures Chanel and Stravinsky sought to bust.
  30. For women who smoke and drink like fiends, the trio of pre-owned babes in this weirdly rotten femme-porn romance have awfully good, unwrinkled complexions.
  31. Like other movies of its ilk, it's missing a very simple bit of next-level Hollywood technology: a tripod.
  32. When Bebop's anime characters stand still, chirping their strangely stilted, dubbed talk and not moving their strangely blank faces, I feel lost on Mars myself.
  33. A twisted helix of "Memento" and "Munich" without either of those film’s craft, depth, or thematic murkiness.
  34. The filmmaker keeps himself squarely on screen. This is fine when he engages in throwdowns with the bigots but distasteful when Levin shows himself reacting to footage -- unseen by viewers -- of the beheading of reporter Daniel Pearl.
  35. Bereft of any flesh-and-blood honesty, the last half of the movie plays like a ludicrous PBS version of "Mandingo."
  36. With his latest film, the mawkish and melodramatic Labor Day, Reitman has done an unexpected about-face: He's ditched Wilder for Douglas Sirk. And the swap doesn't do him — or his fans — any favors.
  37. This very Canadian thriller (i.e., no humor, lots of literal-minded future-shock portentousness) certainly does a number on you, though not necessarily a pleasurable one.
  38. The heist in Heist is pretty pedestrian, and the film turns into Die Hard-on-a-bus with a couple of so-so twists and serviceable spasms of action. If that’s what you’re looking for, rent Speed instead.
  39. Works hard to be exciting, but the movie scarcely lives up to its title. It could have used a bit of a fuel injection itself.
  40. It's as if, on the umpteenth Asian-horror Xerox, the ink has run dry.
  41. [A] gimmicky actors' holiday.
  42. By the end, every child in the audience will want his or her own monster-minion toy. Adults will just regret the way that Despicable Me 2 betrays the original film’s devotion to bad-guy gaiety.
  43. One more case of a winning ''SNL'' character tamed by the wan, fizzled farce around him.
  44. Gandhi tries to dodge criticism of his mocking scam by rationalizing that even a phony wise man can offer real solace.
  45. XXY
    It's set at a beach house, but we see only gray skies, and though Efron has a wary and cutting intelligence (it matches that of the fine actor Ricardo Darin, who plays her father), the effect is tepid and damp.
  46. At no time do the men -- that is, the straight ones -- believably hold the upper hand. In the new town of Stepford, there's no bitterness, no struggle, no competition, none of the scars of the sexual revolution. There's just gay apparel.
  47. Fourteen years after "Happiness," why is director Todd Solondz still mucking around with the sort of idiot neurotic dweeb who makes George Costanza look like George Clooney?
  48. The problem isn't so much what the film is saying but its shrill, alarmist tone. You don't have to be a sociological genius to look at all of us walking down the street like zombies, obliviously staring at our smartphones, and know that something's wrong.
  49. Everything old is old again in this rickety extension of 2002's already rickety "Van Wilder."
  50. Ends up blowing its own joke. Instead of making Joe blissfully arrogant in his Southern rock dude myopia, it turns him into a shuffling masochistic loser.
  51. The Boy, from director William Brent Bell, aims to set itself squarely in the fictional canon of "Chucky" and its brethren, but it ends up trying to do so much that it forgets to scare us.
  52. In one of his final roles, Philip Seymour Hoffman stars as a man whose no-good stepson is killed on a construction job, while John Turturro, Richard Jenkins, and Christina Hendricks round out a formidable cast that isn’t given much to work with.
  53. The teachers (including original cast member Debbie Allen as school principal) turn out to be the best part of the show.
  54. Not until the last 20 minutes does Gozu come fully alive. A man has sex with a seductive beauty, who then gives birth to...well, let's just say it's a sight that may take time to fight its way out of your head.
    • 31 Metascore
    • 50 Critic Score
    Playing a sleazeball who has stumbled upon an excellent excuse for his bent, Cage holds the movie together as best he can. More important, he nails down his unique approach to acting, managing to be simultaneously stylized and naturalistic. [7 June 1996, p.66]
    • Entertainment Weekly
  55. You can forget about veracity, since this gauzy and sometimes dopey romanticization can't be trusted.
  56. Mandy Lane does eventually build to a whiplash twist ending, but it's too little, too late — much like the film itself. Here's a case where the backstory is more interesting than the movie.
  57. The plot is a nonsensical mess -- which just caps off the ugliness.
  58. This clumsy, cheesy, chintzy adaptation, with its F/X that look dated the moment you see them, is like something left over from the '60s.
  59. The accountant in Bloom would probably approve of the new Producers: It's an efficient extension of a popular brand. In theory, what's not to like? In reality, the whole schmear.
  60. A trashy, frenetic remake of Fred Zinnemann's 1973 The Day of the Jackal, The Jackal is mired in blood, cheap shocks, and a random network of improbability.
  61. Dudsville.
  62. About the only thing the movie kills with any decisiveness is your time.
  63. The young cast is terrific, giving the stories unearned weight.
  64. Shyamalan's most alienating and self-absorbed project to date.
  65. Turns out to be just another dud in the genre of revisionist mysteries that have been messing with our heads since Haley Joel Osment saw dead people. Only this time, the big reveal doesn't so much twist the plot as snap its neck.
  66. The comedy here isn’t very funny and the drama isn’t very sharp.
  67. Shirley MacLaine’s well-deserved reputation as a salty, snappy grand dame — forged from later-career work like "Terms of Endearment," "Steel Magnolias," "Postcards from the Edge," "Bernie", etc. — unfortunately precedes her in this sloppy, saccharine drama costarring Amanda Seyfried.
  68. After an hour of inert exposition, a race through Shanghai gooses the movie alive. Then it plunges back into torpor.
  69. Directors Zeke and Simon Hawkins add air-quote references to Jim Thompson, Steven Soderbergh, and the Coen brothers but are too proud of the movie's twists to make them truly snap. Call it "Blood Simple-ton."
  70. Slight even by the wafer-thin standards of the wedding rom-com genre, writer-director Jeffrey Blitz’s Table 19 offers a couple of mild chuckles, six actors who’ve all been far better elsewhere, and a mercifully brief running time.
  71. Daniels plays Arlen with a kind of cuddly crankiness; he makes him a jerk who just needs a hug.
  72. The Rocketeer is mostly an example of pop moviemaking at its most derivative.
  73. Most of the numbers in Rock of Ages are flatly shot and choreographed, and they look as if they'd been edited together with a meat cleaver. With rare exceptions, they don't channel the excitement of the music - they stultify it.
  74. If Take My Eyes explored how a woman could still feel for a man who abused her, it might have gripped us with its difficult truths. But the movie presents Pilar and Antonio's marriage as a stale, neurotic dead end.
  75. Slipshod rather than sly. There's no fury to the movie, repressed or otherwise, which may be why when the Revolution arrives, it has all the impact of a guillotine with a deadly dull blade.
  76. Soon enough it's back to stale jokes about spousal date nights.
  77. Stanley Tucci, Hope Davis, Anne Heche, and Sofia Vergara all pop up in glorified cameos and give the movie more fizz than their roles require. Which begs the question: Why would they sign on for such thankless, bite-size roles?
  78. Any random episode of Law & Order would be more sophisticated than this heavy-handed, moralistic Southern-lawyer corn pone, directed by Francis Ford Coppola.
  79. The directorial debut of actress Katie Holmes, starring herself as Rita, a drunk single mother living out of her car, is the latest well-intentioned yet lousy-with-clichés treatment in the hard-luck-woman subgenre.
  80. Young boys are the only suitable audience for Speed Racer, the elaborate live-action adaptation written and directed by "Matrix" creators Larry and Andy Wachowski. And even they might feel an urge to squirm.
  81. Feels cramped and underimagined. I think Judge is capable of making an inspired live-action comedy, but next time he'll have to remember to do what he does in his animated ones--keep the madness popping.
  82. It's a tale soggy with the kind of race/class lessons that Madea, the director-star's battle-ax alter ego, doles out far more handily (and entertainingly) in a single church-lady-from-hell zinger.
  83. It has been put together with just enough efficiency to qualify as an oddball labor of love.
  84. The biggest surprise in Shame is how distanced, passionless, and merely skin-deep the director's attention is - how little he cares about the subject of his own movie.
  85. Comes from the same jolly homage-to-schlock-shock producers who remade ''House on Haunted Hill,'' and the emphasis is shamelessly on ornate scares. But with its high-gloss cast and French art-house actor and director Mathieu Kassovitz (''Hate'') in charge, the movie also shoots for class.
  86. Colombiana is silly fun at first, but as her break-ins and escapes grow absurdly complex - and her motivations increasingly muddy - it turns into the same silly stuff we've seen before, a dish of revenge served not so much cold as reheated.
  87. It all works in theory. But the execution’s off.
  88. Anthony, with his famished thousand-yard stare, turns in a delicate -- perhaps too delicate -- performance more informed by the shadow of Lavoe's death than the spark of his art. And his shrill domestic scenes with Lopez feel small and squalid, as we wait restlessly for the band to play us out.
  89. Godard, as always, sounds full of insight, yet he uses the past to damn the present in a way that may be reflexively self-serving. In Praise of Love leaves a taste as bitter as poison ash.
  90. The director, Paul Schrader, tries for cleansing audacity, but ends up too close to farce.
  91. Pictorial but oddly muffled three-hour saga of romance and capitalism, not necessarily in that order.
  92. The unnecessarily famous cast for such a standard, creaking, fake-spooky ghost story (with Bible verses thrown in for good measure).
  93. Liman, for all his craft, doesn't have enough FUN with the premise.
  94. Ride Along 2, which moves the action from Atlanta to Miami, plays more like a remake than a sequel.
    • 56 Metascore
    • 50 Critic Score
    It's also supposed to be atmospheric, noirish, and touched with nihilism. But the director, Hollywood bad boy Dennis Hopper, lays it all on so thick that the film verges on self-parody.
  95. True Memoirs is harmless, disposable junk food that has just enough laughs to make you feel like you didn’t get scammed.
  96. The director's famously over-deliberate, pause-laden style verges, for the first time, on amateurville, and that gives us too much time to linger on the movie's more bizarre details.
  97. Trust, the cult-movie view turns precious and smug.

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