Entertainment Weekly's Scores

For 5,385 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 Going Upriver: The Long War of John Kerry
Lowest review score: 0 Garage Days
Score distribution:
5,385 movie reviews
  1. It's a tragedy, really: According to the hapless team who made the movie, Our Paige is a relatively interesting young liberal who knows her own mind before the accident and a rather tedious, girlish conservative who fusses about keeping her hair smooth afterwards.
  2. The steady drip-drip-drip of nothings like this are killing us all.
  3. 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.
  4. Might best be described as bereavement porn.
    • 27 Metascore
    • 25 Reviewed by
      Ty Burr
    Musketeer's fight scenes are underlit, overmiked, and appallingly edited, with none of the spacious grace that even routine Asian action flicks get right. Worse, the narrative scenes make less sense.
    • 41 Metascore
    • 25 Critic Score
    Astonishingly (and offensively), the witless ending comes down harder on the women than the cad.
  5. 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.
  6. When Seagal's undercover FBI agent Sascha Petrosevitch waddles into the big house wearing a do-rag and a billowing blue jumpsuit, it's the funniest jailhouse-flick scene since Gene Wilder's white-boy strut in ''Stir Crazy.''
  7. 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.
  8. 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.
  9. As distressed as a comedy can be without qualifying as a snow emergency.
  10. Another depressingly empty action thriller.
    • 37 Metascore
    • 25 Critic Score
    Afterlife is slow-moving but relentless, and judging from a post-credits teaser that promises yet another sequel, it has an unquenchable appetite for your brain cells.
  11. It's a dispirited, galumphing mess.
  12. As the brutish Kable, Gerard Butler must find out who's pulling his strings, but it's the audience whose chain gets yanked by this headache-inducing techno-violent mishmash.
  13. Someone (Myers?) came up with the bright idea of turning the Cat in the Hat into the worst Vegas nightclub spritzer of 1958. He's become a furry version of Rip Taylor: a walking, talking vaudeville idiot box.
  14. If the movie doesn't even care about its characters, then how can we?
  15. How appealing is Muniz, taking a break from ''Malcolm in the Middle,'' a day job he should by no means let go of?
  16. In a feat of dullness quite powerful in its own way, this lifeless family comedy sucks the joy from every joke it touches.
  17. No authentic emotion of any kind happens in this damp, Seattle-based romance, a fizzle for both stars.
  18. The answers he strings together are babble in this superficial vanity documentary. Nice shots of awesome, God-approved scenery, though.
  19. This inauthentic teen tale, with its cosmetically softened edges, serves neither the young people nor the Mendes fans for whom it might be intended.
  20. 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.
  21. Calculatedly soppy, seasonally phony Americanized remake of Giuseppe Tornatore's 1990 "Stanno Tutti Bene."
  22. Taylor Hackford, fails to squeeze the tiniest bit of juice, sexy or comic or otherwise, out of the chintzy-libertine locale.
  23. The entire movie has the meaninglessly burnished, sunglasses-at-midnight glow of an early-'90s car commercial -- a visual scheme guaranteed to leave the audience squinting between yawns.
    • 27 Metascore
    • 25 Reviewed by
      Ty Burr
    A pox on the man's (E.B. White) memory.
  24. Just coarse, clunky, jerry rigged, and -- worst of all -- not funny.
  25. 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.
    • 33 Metascore
    • 25 Critic Score
    State Property 2 is no more three-dimensional than your average brand-name-laden hip-hop video.

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