Entertainment Weekly's Scores

For 5,202 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 Days of Glory
Lowest review score: 0 Bigger Than the Sky
Score distribution:
5,202 movie reviews
  1. This rusty jalopy of a movie, which is so ramshackle it's nearly enough to make you forget how tossed-together the 1976 ''Car Wash'' was.
  2. Tells a moldy-oldie, not-nearly-as-nasty-as-it-thinks-it-is joke. Over and over again.
  3. A demented, orgiastically gory vampire/sex parable.
    • 39 Metascore
    • 33 Critic Score
    A tired action thriller determined to play the race card every which way for every which kind of viewer, seems hopelessly behind the curve.
  4. Without any of the patented Farrelly insight into the insecure, horndoggy teen in every man, and without a grown-up setting in which Harry and Lloyd can transgress like dum-dum geniuses,Dumb and Dumberer is dumberest.
  5. It's hard to say what's more excruciating: Alex's novel, which is like ''The Great Gatsby'' rewritten by Lizzie McGuire, or his quarrelsome flirtation with Emma, who has no existence as a character apart from her drive to reshape Alex into a specimen of respectable tamed manhood.
  6. Not one female character escapes mockery or patronizing.
  7. It was originally called ''Animal Husbandry,'' and while the producers were throwing away that title, they might have done well to chuck the movie along with it.
    • 16 Metascore
    • 33 Critic Score
    Sitting on your couch watching these morons sit on their couch and get wasted is like being the only straight guest at a pot party. Everyone else is laughing, and you're left wondering why.
  8. The few jaunty, ''Friends''-inflected lines Perry does get off are lost among the cow pies.
  9. Bland to dismal.
    • 19 Metascore
    • 33 Critic Score
    Long on smarm and short on charm.
  10. Jean-Claude Van Damme's latest dud.
  11. Bloodless and false.
  12. The only pleasure to be derived from the resulting carnage comes from the Rube Goldbergesque chain reactions that precede each fatality.
  13. If Crowe's eyes are open, he seems to have directed most of Vanilla Sky with his mind wide shut.
  14. With his tousled mane and wispy facial hair, Asian pop star/ Prada model Kaneshiro suggests a Japanese Johnny Depp, but even his charisma can't carry Returner through its interminable longueurs. Blame it on Yamazaki.
  15. Tame and witless enough to make me long for the ancient, dusty fright kitsch of ''The Munsters.''
  16. ''Kid'' seeks to ''empower'' its target audience of recent Pokémon grads with an adult antihero desperation that feels preemptive and inappropriate.
    • 38 Metascore
    • 33 Critic Score
    Exhibits none of the infectious offhand tastelessness of their hit show and all of the insistent overkill of a Mel Brooks joke gone horribly wrong.
  17. For all I know, Ryan's performance could be a dead-on Kallen impression. But what she appears to be doing is an impression of Johnny Depp doing an impression of Keith Richards doing an impression of Liz Taylor.
  18. The movie is a true folly, yet there's no denying that Gilliam has gotten some of the hallucinogenic madness of Thompson's novel on screen.
  19. Commits the cardinal sin of too many modern movies: It never gives the audience a clue why any of these people were ever attracted to one another in the first place. [30 May 1997, p. 54]
    • Entertainment Weekly
  20. Ultimately, the talented cast -- among them M. Emmet Walsh, Faye Dunaway, Skeet Ulrich, and Viggo Mortensen -- play to their easiest star turns rather than their most interesting strengths.
  21. The film is proof that if you repackage the classics (in this case, Dickens) for the youth market in an era of MTV dislocation, what you get, in essence, is postmodern Cliffs Notes with an alt-rock soundtrack.
  22. A portentous and goopy Dutch drama.
  23. Van Helsing, a fusion of eye candy and brain sputter, is a long, kinetic, yet dreary mess.
  24. The film values quips and declamations over natural conversation (or an explanation of how such intelligent women could have been so blind to world events).
  25. "Species" at least had the benefit of Henstridge's glazed porn-doll perversity, but this time any glimmers of sexual ominousness are buried in a lame, desultory chase plot and in the woefully underimagined special effects.
  26. There's no enjoyably outlandish hiss to this variation on the formula, and no Ice Cube or Owen Wilson, either. This time, a ship of capitalist fools (and no movie stars, unless you count utility player Morris Chestnut as a headliner) steams along the river in Borneo.

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