Entertainment Weekly's Scores

For 5,871 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 3.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Filth and the Fury
Lowest review score: 0 Femme Fatale
Score distribution:
5871 movie reviews
  1. 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.
  2. If the movie doesn't even care about its characters, then how can we?
  3. How appealing is Muniz, taking a break from ''Malcolm in the Middle,'' a day job he should by no means let go of?
  4. In a feat of dullness quite powerful in its own way, this lifeless family comedy sucks the joy from every joke it touches.
  5. No authentic emotion of any kind happens in this damp, Seattle-based romance, a fizzle for both stars.
  6. The answers he strings together are babble in this superficial vanity documentary. Nice shots of awesome, God-approved scenery, though.
  7. This inauthentic teen tale, with its cosmetically softened edges, serves neither the young people nor the Mendes fans for whom it might be intended.
  8. 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.
  9. Calculatedly soppy, seasonally phony Americanized remake of Giuseppe Tornatore's 1990 "Stanno Tutti Bene."
  10. Taylor Hackford, fails to squeeze the tiniest bit of juice, sexy or comic or otherwise, out of the chintzy-libertine locale.
  11. 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.
  12. Just coarse, clunky, jerry rigged, and -- worst of all -- not funny.
  13. 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.
  14. Three stories by the guy who wrote Trainspotting, banged and smashed into a film by Paul McGuigan with none of Trainspotting's charm and all its grotesquerie.
  15. Darkness was clearly tossed together like salad in the editing room, since it's little more than the sum of its unshocking shock cuts.
  16. In Wiener-Dog, Solondz just keeps telling the same dark joke over and over again—and it just keeps getting less and less funny. It’s a dog.
  17. A distasteful zeitgeist cocktail tracking the booze-fueled sexcapades of eight repellent L.A. singles.
  18. A very low grade romantic drama indeed, a love story with all the life and death intensity of a heat rash.
  19. Though it doesn't work as entertainment, this numbingly chipper rom-com (directed by Dermot Mulroney) might be of historical value someday as an A-to-Z guide to the genre's most overworked clichés.
  20. 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.
  21. You realize you're watching a snuff film, where the victim isn't just teen innocence but teen romance.
  22. Jason Lee seems to have been bitten by a vampire who sucked out all his prickly charisma. You see the promise of stardom dribbling through his fingers.
  23. It's just a grindingly inert death-wish thriller.
  24. So badly told that it ends up dissecting a corruption that exudes from nowhere but itself.
  25. 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.
  26. The mood is ruined by the bitchy 1990s stereotyping of the husband hunters.
  27. Stumbling adaptation of a Sam Shepard play about men, horses, chance, and lies.
  28. It's like a film-school thesis gone disastrously wrong.

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