Entertainment Weekly's Scores

For 5,223 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 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Glengarry Glen Ross
Lowest review score: 0 Valentine's Day
Score distribution:
5,223 movie reviews
  1. You'd think that the film would ask you to be appalled at this scenario of forced servitude -- but no, it's treated as harmless and cute, like an Israeli ''Chico and the Man.''
  2. The cruddy, shot-in-a-warehouse settings are especially depressing, since the computer-generated special effects seem to be taking place in another movie entirely (a far livelier one). [9 Jan 1998, p. 47]
    • Entertainment Weekly
  3. The United States of Leland is tedious yet infuriating, since its characters, all of whom seem to have emerged from a screenwriter's manual, are like exhibits in a thesis meant to indict the middle class for the crime of its collective dysfunction.
  4. The movie's mortal failing is echoed in the religious medal Pita gives Creasy in a gift of innocent, uplifting love: Finding heft or coherence within all the lugubrious agitation is a lost cause worthy of St. Jude.
  5. A cheaply made piece of ''psychological'' occult schlock, subjects you to that depressing stop-and-go rhythm that defines inept fantasy thrillers.
  6. Leaves you with the dismaying sensation that Levinson, who should probably be off making his own version of ''The Player,'' has instead crafted a comedy of self-loathing, burying himself in a movie that deserves to be Vapoorized.
  7. The movie may be more bogus than a Gucci bag for sale on a Fifth Avenue sidewalk, but at least the backgrounds are real.
  8. If you were looking for an actress to play a tempestuous, schizophrenic movie-slash-rock star, you might go for Courtney Love or Angelina Jolie, or maybe even Jennifer Connelly. But Rachael Leigh Cook?
  9. The only metatwist missing in the twittering self-regard of this indulgent home movie is the participation of a documentary video crew -- ideally helmed by some TV exec's USC-grad son -- shooting the filmmakers shooting the play within the play.
  10. Instead of rooting for Pullman and Fonda, we end up praying that the crocodile is hungry enough to put them out of their misery.
  11. Stripped of the pleasures of terror, flattened of grandeur (with a tacked-on coda that fairly groans with storytelling defeat), the movie sinks from the weight of its own heavyhandedness.
  12. A witch comedy so slapdash, plodding, and muddled it seems to have had a hex put on it.
  13. Has Brian De Palma finally lost his mind? Ever since "Carrie" (1976), his one true masterpiece, this director has evolved into a cinematic serial killer of common sense.
  14. Director Stephen Herek (Mr. Holland's Opus) and screenwriter Tom Schulman (Dead Poets Society) offer no clues, no challenges, nothing to provoke the smallest bubble of curiosity in an audience that waits 40 minutes only to realize Oh, I get it, this isn't going to be Eddie Murphy Funny!
  15. Watching Pecker, his rickety new comedy about a teenage Baltimore shutterbug, it becomes clear that Waters has grown color-blind to his own sleazo-shock aesthetic.
  16. The big climax isn't climactic, just hysterical and incoherent. Murphy, with her bug-eyed, love-me mugging, is simply too slight and gawky to play the Everygirl.
  17. Sends comedy backward in time, and we're in the 1970s, ethno-sitcom style: These Andersons in their out-of-date white, snooty gated community apparently confuse themselves with their forebears on The Jeffersons.
  18. Silver City may be the mustiest political-conspiracy tale ever filmed; it's like "Chinatown" rewritten by Ralph Nader.
  19. Homophobic, sex-phobic, maybe even human-phobic.
    • 55 Metascore
    • 25 Critic Score
    Unfortunately, it's impossible to tell from this confused mess (costarring Jakes as himself) what that message is.
  20. An action-choked dud in which even the closing outtakes barely deserve to be left on the cutting-room floor?
  21. What willful streak of perversity inspired Kevin Costner to take on this wacky tale of a letter carrier-turned-postapocalyptic hero?
  22. This is a deeply unpleasant movie masquerading as a heartfelt social commentary on life in these United States.
  23. Darkness was clearly tossed together like salad in the editing room, since it's little more than the sum of its unshocking shock cuts.
    • 29 Metascore
    • 25 Reviewed by
      Ty Burr
    There's not much else for viewers to do but give themselves over to the whims of the bad-movie gods.
  24. A sodden ''feminist'' vulgarization.
  25. Simply put, it may be the lamest movie ever made about poor white... Southern characters.
  26. Lowest-common-denominator humor.
  27. Feeling Minnesota suggests Sam Shepard trying to be Quentin Tarantino. It makes even gun battles seem pretentious.
  28. By the end, you feel like a drill sergeant-you want to wipe that stupid grin off Sandler's face.
  29. Screenwriter Kevin Williamson (the Scream trilogy), having bottomed out in the horror genre, now dips below bottom (there isn't a line that has his knowing sweet-and-sour zing).
  30. Antal has assembled what may be the single most colorless group of mangy lowlifes I have ever seen.
    • 33 Metascore
    • 25 Critic Score
    State Property 2 is no more three-dimensional than your average brand-name-laden hip-hop video.
  31. Because the script, riddled with verbal ugliness by David Elliot and Paul Lovett, sends the movie to a series of arbitrary nowheres, the final showdown for the Mercer boys and their enemies is just as meaningless and sense-deadening.
  32. So badly told that it ends up dissecting a corruption that exudes from nowhere but itself.
  33. As Brier's comrade-in-lip-gloss, Ashlee Simpson, dressed to look like a teenybop girl version of Crispin Glover in "River's Edge," is the real deal -- in fake cred.
  34. What Emily doesn't do, though -- what this slow-moving, sour, sloppily assembled teen drama doesn't allow her to do -- is make her predicament of any emotional interest.
  35. The loserville teen comedy Underclassman is like a student project sloppily cribbed from other kids' notes -- kids who have seen "Rush Hour" and still can't get over how funny it is to stick a noisy black guy in a distinctly nonblack setting.
  36. A mud-simple horror trudge set in a swamp colony of Abercrombie models.
  37. The movie is trash shot to look like art imitating trash.
    • 33 Metascore
    • 25 Critic Score
    Does a very thorough job of reducing every recognizable member of the cast to probable career lows.
  38. Atrociously scripted and edited.
  39. When a Stranger Calls is ba-a-a-a-c-k, in frightless form, updated for the age of anytime minutes and caller ID.
  40. The movie lacks even the misplaced fervor of obsession. It's lifeless kitsch.
    • 36 Metascore
    • 25 Critic Score
    Jazmin's so fat that the movie reduces her to a single discernible characteristic, which is a telltale mark of many a wholly awful comedy.
  41. The mangy joke in the defiantly homemade documentary 95 Miles to Go is that Ray Romano on a business trip is no different from any other schmo, minus the autograph signing.
  42. Don't let the Carl Hiaasen pedigree fool you: Hoot is an Afterschool Special too crummy to give a hoot about.
  43. Tedious.
    • 41 Metascore
    • 25 Critic Score
    Astonishingly (and offensively), the witless ending comes down harder on the women than the cad.
  44. A glumly serious British mock rock doc: You could forgive the paucity of jokes if Brothers of the Head had anything to say, or if the '70s-vérité surface were remotely convincing.
  45. In a feat of dullness quite powerful in its own way, this lifeless family comedy sucks the joy from every joke it touches.
  46. This dank and rhythmless ''psychological'' potboiler was directed by Jamie Babbit, who made 2000's "But I'm a Cheerleader," and though she has shifted tones from shrill camp to moody angst in The Quiet, she still thinks in stereotypes so thin that they put you to sleep the moment they open their mouths.
    • 29 Metascore
    • 25 Critic Score
    Unlike "Hostel" or "Wolf Creek," TCM:B is rank and depressing.
    • 27 Metascore
    • 25 Critic Score
    Nearly laughless.
    • 22 Metascore
    • 25 Critic Score
    Twice as many accidental laughs as scares.
    • 33 Metascore
    • 25 Critic Score
    Get Lucy Liu better roles!
  47. A few more films like Tears of the Black Tiger, and kitsch will be on its way to having a bad name.
  48. Hannibal Rising reduces this great creature of the pop imagination to a Eurotrash Boy Scout throwing a homicidal snit fit.
  49. Murphy speaks in a breathy lisp, as if his mouth had been partially buttoned shut, and he doesn't give himself the nerd's traditional redeeming feature of a geeky, slide-rule intellect. Norbit, all frozen gawk, is just a very dim bulb.
  50. Lake and Fraser never come close to believability as a romantic couple. There's more chemistry going on in a grain of salt.
    • 36 Metascore
    • 25 Critic Score
    Atrocious sequel.
  51. A crappy thriller gussied up with a chrome-plated veneer.
  52. Chatwin comes off as prickly and annoyed -- they should have called this "Perturbia."
  53. An immediately forgettable action pic directed with a blowtorch by Lee Tamahori.
  54. Vampire in Brooklyn is a horror comedy that mixes lame blood-pellet effects with lame gags, and it clunks along on a series of interchangeably deserted streets that manage to look dank and overlit at the same time.
  55. Last Action Hero makes such a strenuous show of winking at the audience (and itself) that it seems to be celebrating nothing so much as its own awfulness. In a sense, the movie's incipient commercial failure completes it aesthetically.
  56. The most irritating thing about Hoffa is that even after you've sat through Danny DeVito's turgid, meaninglessly sprawling account of the Teamster boss' rise and fall, you still won't have any idea who Jimmy Hoffa was.
  57. It's like a film-school thesis gone disastrously wrong.
  58. Inert dud of a hitmen-are-people-too comedy.
  59. Director Sean Ellis has a lovely eye, but he's set the film in his blind spot. Not only can't he distinguish between art and porn, savoring and wallowing, universal truths and exhausted clichés -- he doesn't even seem interested in these distinctions.
  60. In a season of digital bombast, it can be a relief to walk into a stodgy life-of-the-great-man costume drama. Goya's Ghosts, before it turns into a messy, horse-drawn load, achieves a civilized stuffiness that gives off its own mild pleasure.
    • 13 Metascore
    • 25 Critic Score
    Filling in for Eddie Murphy in a septically humored kiddie sequel to "Daddy Day Care," Gooding gives a mug-job performance that consists mainly of reacting (again and again) to nasty smells.
  61. The audience gets the message (religious fanaticism: bad), but nothing we see is convincing on its own.
  62. The morality of revenge is barely at issue in a movie that pushes the plausibility of revenge right over a cliff.
  63. The film completely misses what should have been its real target -- the filming of Game of Death, a martial-arts campfest worthy of Edward D. Wood Jr.
  64. You can expect a lot of shredding and gurgling. 30 Days of Night is relentless, but it's also relentlessly one-note.
  65. The backstories keep piling up, with nods to "The Shining," "The Ring," and a dozen other gothic supernatural chillers, yet the result doesn't remotely scare you.
  66. Based on a videogame, Hitman could be the year's dumbest movie.
  67. This garbled American remake of Takashi Miike's already staticky 2004 exercise in J-horror is a wrong number.
  68. Kate Hudson is as blah and dazed as her costar is cloyingly enthused. If it's possible to have too even a tan, Hudson in Fool's Gold would be the poster child for it.
  69. Neither grand enough to be impressive nor antic enough to be charming, the movie settles for bland and frantic, climaxing in a showdown among decadent pyramid builders. How bad are these guys? They're sadists...and, wink wink, sissies.
    • 39 Metascore
    • 25 Critic Score
    Movie is dopey. And with its emphasis on stupid violence, xylophone abs, and getting yourself on YouTube, it's yet another product that makes you feel bad about today's youth culture.
  70. A failing-grade comedy about the wishful triumph of high school dorks over high school bullies.
  71. Simon Pegg has what it takes, but he's saddled himself with a script (co-written by Pegg and Michael Ian Black) that Adam Sandler wouldn't have pulled out of his bottom drawer.
    • 30 Metascore
    • 25 Critic Score
    Even a hilarious turn by Kristen Wiig as the owner of a doughnut company can't save this clichéd, meandering story from playing like "American Beauty" lite.
  72. Viewers' own evenings, meanwhile, will likely be ruined by unimaginative direction, inane dialogue, and Schaech's passing resemblance to Forrest Gump.
  73. This kingdom really should be forbidden.
  74. Regardless of your personal views, Expelled's heavy-handed bias (a visit to Darwin's home gets the same eerie music as a tour of Dachau) is exasperating.
  75. Everything is wrong pretty much from the start of this misbegotten adventure.
  76. None of the faux icons comes close to being a character. Instead, they are contrasted with a group of nuns who skydive without parachutes. Could this possibly be a metaphor for Korine's filmmaking? It certainly goes splat.
  77. It's like "Schindler's List" crossed with "The Sound of Music," and Roger Spottiswoode directs it in a stiff, lifeless, utterly dated style of international squareness.
  78. While candy-colored graphics should dazzle kids, Space Chimps has little draw for audiences spoiled by the Pixar-given knowledge that CGI can entertain -- and not just stupefy -- moviegoers of any age.
  79. It's not much fun to see these two reduced to "Mad TV" parodies of themselves.
  80. It's just a grindingly inert death-wish thriller.
  81. While George Lopez, Cheech Marin, and Paul Rodriguez are funny men, it's amazing how boring these Latin-shtick cutups can be when none of them gets a single good line.
  82. Randall Miller (Bottle Shock), appears to be trying to cross a bad Elmore Leonard thriller with a bad indie-festival family-angst comedy. He gives us the worst of both worlds.
  83. An unintentionally ludicrous drama of repentance.
  84. It's a dispirited, galumphing mess.
  85. It all makes you want to see a Bollywood movie, all right -- a good one.
    • 43 Metascore
    • 25 Critic Score
    This predictable film wouldn't be effective anywhere outside a DARE program.

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