Entertainment Weekly's Scores

For 5,307 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 Kurt Cobain: Montage of Heck
Lowest review score: 0 Even Cowgirls Get the Blues
Score distribution:
5,307 movie reviews
    • 29 Metascore
    • 25 Critic Score
    Unlike "Hostel" or "Wolf Creek," TCM:B is rank and depressing.
  1. This dank and rhythmless ''psychological'' potboiler was directed by Jamie Babbit, who made 2000's "But I'm a Cheerleader," and though she has shifted tones from shrill camp to moody angst in The Quiet, she still thinks in stereotypes so thin that they put you to sleep the moment they open their mouths.
    • 43 Metascore
    • 25 Critic Score
    This predictable film wouldn't be effective anywhere outside a DARE program.
  2. It doesn't help that most of the jokes (like a rip-off of ''There's Something About Mary'''s dog-in-the-crotch bit) are themselves stolen.
  3. A desert of shrill juvenile jokes and clanging chase sequences.
    • 13 Metascore
    • 25 Critic Score
    Filling in for Eddie Murphy in a septically humored kiddie sequel to "Daddy Day Care," Gooding gives a mug-job performance that consists mainly of reacting (again and again) to nasty smells.
  4. Isn't up to much of anything besides pretending that swearwords and snot-nosed insults, served up by Santa with an almost institutional monotony, aren't just naughty. They're -- big joke! -- incorrect.
  5. Pushes and pushes and pushes the emotional throttle without respite.
  6. As anyone who has peered in on the actual WNBA for five minutes knows, professional women basketball players are as tough as men. That the film treats this as a joke isn't funny -- it's the height of lame condescension.
  7. Plays out like a variation on an old design dictum: If you can't make it good, make it big.
  8. This condescending story wastes him (Douglas).
  9. Hannibal Rising reduces this great creature of the pop imagination to a Eurotrash Boy Scout throwing a homicidal snit fit.
  10. Preposterous-for-no-good-reason supernatural tale.
  11. A witch comedy so slapdash, plodding, and muddled it seems to have had a hex put on it.
    • 36 Metascore
    • 25 Critic Score
    So what is real? Only the boredom of the audience as the film collapses from one meaningless false-bottom environment to the next.
  12. Last Action Hero makes such a strenuous show of winking at the audience (and itself) that it seems to be celebrating nothing so much as its own awfulness. In a sense, the movie's incipient commercial failure completes it aesthetically.
  13. De Niro seems to be reacting to nothing so much as the lame movie he's stuck in.
    • 22 Metascore
    • 25 Critic Score
    Twice as many accidental laughs as scares.
  14. Murphy speaks in a breathy lisp, as if his mouth had been partially buttoned shut, and he doesn't give himself the nerd's traditional redeeming feature of a geeky, slide-rule intellect. Norbit, all frozen gawk, is just a very dim bulb.
  15. Anderson has made a zombie movie without the zombies.
  16. The title Addicted to Fame hints that Giancola knows enough to count himself among the hooked. But the crappiness of this documentary about a crappy parody of a crappy B movie suggests that he hasn't kicked the habit.
  17. It's a gussied-up sorority-of-rising-stars project produced, I fantasize, by baby-boomer studio guys whose younger spouses articulately defend a woman's right to stay home and raise the kids.
  18. Homophobic, sex-phobic, maybe even human-phobic.
    • 46 Metascore
    • 25 Critic Score
    More than just dumb, the picture is embarrassingly dorky.
  19. Is less an end in itself than an excuse, a jumping off point for showy, contrived, borderline exploitation sequences that fail to tie together because they're not really there to do anything but sell themselves as money shot thrills.
  20. Each man's shtick swells into a frenzy of overacting.
  21. None of the faux icons comes close to being a character. Instead, they are contrasted with a group of nuns who skydive without parachutes. Could this possibly be a metaphor for Korine's filmmaking? It certainly goes splat.
  22. Inert dud of a hitmen-are-people-too comedy.
  23. Atrociously scripted and edited.
  24. This kingdom really should be forbidden.

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