Entertainment Weekly's Scores

For 5,010 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 4.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Boxing Gym
Lowest review score: 0 Old Dogs
Score distribution:
5,010 movie reviews
  1. Personally, I'd say that it was about time Arquette was leashed.
  2. It's a shrill, stupid, brickbat-blatant piece of hackwork that practically sweats to be ''commercial.''
  3. It's like ''Grease: The Next Generation'' acted out by the food-court staff at SeaWorld.
  4. The picture is so lethargic that I began to think of watching it as a form of atonement.
  5. If you look hard, you can make out a story in Femme Fatale, but it has nothing to do with the senseless pileup of jewel thievery, shutterbug voyeurism, and leggy sex bombs so shallow and bad they seem to have come out of a 1978 copy of Hustler magazine.
  6. You know all that artistic cred Adam Sandler built up with his acclaimed work in ''Punch-Drunk Love''? Well, he flushes it down the crapper with Adam Sandler's Eight Crazy Nights -- the most ill-conceived animated comedy since the 1991 dog ''Rover Dangerfield.''
  7. It appears to have been modeled on the worst revenge-of-the-nerds clichés the filmmakers could dredge up.
  8. It might be courting hyperbole to call Corky Romano the single worst movie ever to feature an ''SNL'' cast member (Dan Aykroyd hit some pretty arid valleys), but I'm willing to go out on a critical limb and rank it among the all-time bottom dozen.
  9. A somber, draggy, deadweight, lugubrious, absurdly self serious version of ''American Beauty.''
    • 21 Metascore
    • 0 Critic Score
    The effects are laughably primitive, the dialogue hilariously atrocious -- and those are the good parts.
  10. It's a puzzlement how so many pros could have so wrecked one of the most beloved, hummably familiar movie musicals in the Rodgers and Hammerstein repertoire.
  11. There's something uniquely embarrassing about a rock & roll fable that is no more authentic (and no less coy) than an episode of ''The Monkees'' yet insists on presenting itself as the epitome of rebel-yell cool.
  12. Had the ghost of Paul Lynde swanned by in a caftan-clad cameo, you couldn't find a more outdated, miscalculated collection of stale, queen-size stereotypes than those trotted out on this ship of fools.
  13. Halloween: Resurrection comes closer to comatainment.
  14. For the audience, it's like watching the dreckiest of teen puppy courtships trying to pass itself off as ''Annie Hall.'' La-de-blah.
    • 6 Metascore
    • 0 Critic Score
    The worst movie of 1999.
  15. The only thing shocking about it, however, is the degree to which self-congratulatory gutter exhibitionism has become the degraded ash end of indie ''edge.''
  16. Benigni's Pinocchio is meant to be adorable, but he comes off as less an enchanted puppet than as a harmlessly deranged middle-aged man prancing about in the kind of froufrou cream-colored pantsuit that Dinah Shore retired to her back closet in 1977.
  17. This ill-fitting movie was mail-ordered from an out-of-date catalog of teen-com stereotypes.
  18. After enduring only a few minutes of this shrill debacle, you'll feel more trapped in the theater than Jimmy is by his bubble.
  19. To dismiss this movie for being ''offensive'' would be to offer it high praise.
  20. To properly convey the jaw-dropping shoddiness of this videogame-based ''horror'' ''movie,'' one must approach what scientists call Absolute Stupid, a state previously thought to exist only under highly controlled laboratory conditions or at the highest levels of government.
  21. Ryan radiates neither desire nor terror. She's freeze-dried in a world of lifelessly abstract feminine fear, and so is the movie.
  22. Aims for dark farce but ends up playing more like Weekend at Bernie's Part VIII. [25 Apr 1997, p. 50]
  23. Oooh, this is toxic.
  24. The film treats its audience like fidgety junior-high schoolers, piling on the sub-Koyaanisqatsi cityscapes and cheesy episodes with Marlee Matlin as a lonely photographer, plus bouncy cartoons of human cells who look as if they'd be happier chasing stains in bathroom-cleanser commercials.
  25. Yes, it's all a harmless lark. Which is why the only thing that could redeem this sour patch of candy-coated crud would be a final shot of Earth exploding.
  26. She Hate Me manages to be at once racist, homophobic, utterly fake, and unbearably tedious. This time, it's Spike Lee who's doing the bamboozling.
  27. There are no survivors here.
  28. Top-heavy with whimsy, so muddled it makes Mission: Impossible look like a model of narrative cohesion, The Saint is the apo-theosis of the new incoherence, with the cliches of espionage and action thrillers jammed together like bumper cars.

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