Entertainment Weekly's Scores

For 5,200 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 (500) Days of Summer
Lowest review score: 0 Say It Isn't So
Score distribution:
5,200 movie reviews
  1. Stuart Townsend, Theron's reallife boyfriend, may have inner fires as an actor that have yet to be revealed, but in Head in the Clouds he's a somber puppy who looks as if Theron could eat him alive. I wish she had.
    • 32 Metascore
    • 33 Critic Score
    The experiment didn't work. The English-language production is a jumble of poorly delineated notions about love, celebrity, the look of romantic movies, and the sound of American-style dialogue - and it's been sitting on the shelf for over a year.
  2. But when the writers run out of ideas, they simply have Farley walk into a lamppost, or cop from old SNL skits.
  3. In its hostile sitcom way, Christmas With the Kranks is a paranoid comic nightmare of conformity gone mad.
  4. What's on screen is lazy, second-rate, phoned-in -- a heist in which it's the audience whose pockets have been picked.
  5. If your allergy to comedies bred from British style mugging crossed with Disney style prancing has, like mine, flared up in recent years, this hybrid from writer director Joel Hershman (''Hold Me, Thrill Me, Kiss Me'') will make you wheeze.
  6. Lawrence is so ON that he appears to be gunning for clockwork bursts of audience approval.
  7. Just as all regular models can't be supermodels, so all action chicks can't be superheroines. Elektra Natchios turns out to be walled off rather than mysteriously alluring; blank rather than deep.
  8. It takes the movie all of 15 minutes to descend into sub-Spielbergian banalities about poor Max's search for his absentee dad.
  9. This is strictly substandard stuff, with imitative creepy noises, vertiginous camera angles, and long pauses.
  10. Its greatest achievement is that there isn't a single convincing scene in it.
  11. Adam Sandler stars in a one-joke Caddyshack for the blitzed and jaded.
  12. A yawn-by-numbers romper-room dud.
  13. Generic hip-hop soundtrack? Check. Aerial stock footage of milieu? Check. Hardy-har homophobia and misogyny? Check. Emasculated sub-Gump white dude played by Jay Mohr? Double check.
  14. The main problem? Raid lacks a center. It's an exhausted sprawl with multiple story foci, none of them terribly compelling.
  15. Too mild to be dirty, yet too dirty to be charming, and altogether too generic to be much of anything.
  16. Most of The Man is as awful as last year's debacle, "Taxi," yet Levy, stuck in a no-brainer variation on Billy Crystal's predicament in "Analyze This," shows just enough noodgy passive-aggression to suggest what the movie might have been were it not shackled to buddy-action clich├ęs.
  17. An Unfinished Life is inert, kaput -- a middlebrow mush of platitudes rather than an okay corral of distinct characters with heartbeats. It's awful not in an exciting, uncontrolled way but in an overly controlled, narcotized way.
  18. Yet Speed 2 is as slow-moving as a garbage scow. Those blinking lights might as well be emanating from a vital-signs monitor. The story is dead in the water.
  19. The director, Nora Ephron, displays her peerless gift for making everything seem snappy and mushy at the same time, and Travolta's performance has a slovenly, I-can-do-anything-and-you'll-still-love-me obnoxiousness.
    • 34 Metascore
    • 33 Critic Score
    What you have is less a sequel to a not-so-bad remake than yet another remake, this one of that not-so-great 1988 John Candy comedy "The Great Outdoors."
  20. A mess -- all high concept, stranded performances, and no laughs.
  21. British director Mike Barker and magpie New York screenwriter Howard Himelstein, have taken "Lady Windermere's Fan" - Wilde's first big stage success, written in 1892 - and pulped it senseless in the name of puttin' on the charm.
    • 24 Metascore
    • 33 Critic Score
    At least London nails the inanity of drug-speak - the bathroom chat quickly devolves from God and ''time horizons'' to coprophilia and a truly dumb confessional tirade by Statham - although perhaps this achievement is unintentional.
  22. A notorious opinion divider last year at Cannes, Battle in Heaven is less about heaven or battle, or hell on earth, or the soul of Mexico, and all too much about gawking. And so, for all the ''shock'' of the movie's clinical carnality, this battle is lost.
  23. Running is a fevered smashup, as if Hollywood dug up Sam Peckinpah's corpse and forced it to adapt "Grand Theft Auto: Vice City" for the screen.
  24. Asia Argento is not what I would call a good actress, but she's a prime specimen of train-wreck sexuality: a debauched Eurotrash starlet who oozes punk cred more than she does talent. It's not too hard to see why she wanted to write, direct, and star in The Heart Is Deceitful Above All Things.
    • 15 Metascore
    • 33 Reviewed by
      Ty Burr
    Carpool is affably stupid Saturday-matinee fare -- good for opiating the kids for a few hours -- but let's just say it's no Big Bully.
  25. Antonio Banderas is a charming and talented man, but in Take the Lead he lays on the old-world panache so thick - the accent, the flowery courtliness, the romance of romance - that he comes off like Dracula's metrosexual cousin.
  26. A few of the images are startling, but as Radha Mitchell (a good actress) wanders through a ghost town, searching for her lost daughter as though she was touring an abandoned movie set, Silent Hill is mostly paralyzing in its vagueness.

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