Entertainment Weekly's Scores

For 5,362 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 Ace Ventura: Pet Detective
Score distribution:
5,362 movie reviews
  1. With its ungainly double-deception premise, How to Lose a Guy feels like it was made out of two connect-the-dots drawings laid haphazardly on top of one another.
  2. Something is wrong under this big tent. Actually made to resemble a good old-fashioned, crowd-pleasing movie, this cinematic Water for Elephants droops and lumbers like Rosie the elephant herself.
    • 43 Metascore
    • 58 Critic Score
    Wait until the best parts pop up on YouTube.
  3. Beresford, who'd like to teach the world to sing, makes the moment as moving as a Coca-Cola jingle. It's not the real thing, but it's effective.
  4. As it is, the story collapses like a bad tip to Liz Smith. Still, there's something brash, retro, and even stupidly touching about all the chatty mania, and the way Baitz and Pacino get off on paranoia, conspiracy theories, and the lure of 1960s idealism.
  5. Shanley turns out to have dismayingly few original cinematic notions to back up the basic did-he-or-didn't-he hook in his study of conviction and compassion.
    • 46 Metascore
    • 58 Reviewed by
      Ty Burr
    If writer-director Tony Vitale ladles on the cliches with extra sauce, Guido still has a hey-Ma-I'm-makin'-a-movie enthusiasm that's more infectious than it has a right to be.
  6. The surprise, and disappointment, of The Da Vinci Code is how slipshod and hokey the religious detective story now seems.
  7. The rules of good screenwriting are mostly broken, though Jamie Foxx's smash-and-grab charisma remains intact.
  8. There are fun moments, especially with Kristin Chenoweth’s vampy poison dart frog. But with more evolved films like "The LEGO Movie" and "Frozen" in the animated ecosphere, overstuffed and gag-reliant time-passers like the Rio movies feel like a dying breed.
  9. Has a voyeuristic tug, but all in all it's a lot less sensational than it wants to be.
  10. That Cruise fails to make a case for Reacher's allure, though, has less to do with physical dissonance than it does with the film's inability - stupefying inability, really - to otherwise make a case for the character's originality in a movie so choked with visual clichés and dreadfully moldy dialogue.
  11. The noisiest laughs in this watery animated comedy are reserved for those who value self-referential winks above all else.
  12. Florid, convoluted historical drama.
  13. The movie, I'm sad to report, has a majorly disappointing follow-through. It turns into a noisy, squalling chase movie.
  14. The film is stuffed with three endings too many. You can't blame Raimi for wanting to give us our money's worth. But after a while, you just want him to get to the Happily Ever After already.
    • 46 Metascore
    • 58 Critic Score
    Earnest and intermittently diverting, this cheerful little movie isn't the sort of thing you see every day.
  15. Connoisseurs of digital animation, graphic novels, and the history of dystopian art will have plenty to discuss about Christian Volckman's visually striking, technically impressive black-and-white animated feature Renaissance…But no one will be talking about the movie's banal plot, the trite dialogue, or any of the indistinguishable characters who offer a bleak futuristic vision of cinema that's all style, no soul.
  16. As a work of art, the movie, shot quickly on digital video, is genial enough if unrefined.
  17. Shia LaBeouf, who appears to be on hand to prove that a movie with a crusading newspaper reporter can still exist, perks up his scenes, and Redford acts with his usual hyperalert, placid control.
    • 54 Metascore
    • 58 Critic Score
    This is one sexy and satisfyingly twisty dance.
  18. Tony Leung plays Ip Man with his old-movie charisma and reserve, but the film, despite a few splendid fights, is a biohistorical muddle that never finds its center. Maybe that's because — big mistake! — it never gets to Bruce Lee.
  19. Older and sadder, Mulder and Scully are no longer sure they've got the energy to even ask if the truth is still out there. And it feels as if Carter is skeptical, too.
  20. Wafer-thin, content-light, structure-wobbly, and whimsy-heavy.
    • 64 Metascore
    • 58 Critic Score
    The way that Aranoa so clearly venerates his lively women feels Almodóvar-esque, but the movie aims most of all to suggest that hookerdom is hell -- and it's neither realistic nor unsentimental enough to pull that off.
    • 18 Metascore
    • 58 Critic Score
    At its best, Movie 43 resembles a risqué episode of Saturday Night Live - a comparison reinforced by the presence of both parody ads and Jason Sudeikis. At its worst? Let's just say that Hugh Jackman fans who want to remember the actor as Jean Valjean and not as a guy with a scrotum sprouting from his neck should make alternate plans this weekend.
  21. He's Just Not That Into You turns romantic sanity into something so sanitized that it starts to make delusion look good.
  22. This sloppy, pleasant comedy by playwright and TV producer Robin Schiff (Almost Perfect) is an amiable mess, a padded-out expansion of a play called "Ladies' Room."
  23. For the invited filmmaker, the opportunity to make a statement is surely a thrill, but for the viewer - who can't pause indefinitely, as with a book, between stories - the focus-shifting is a demand.
  24. While he's (Bridges) having more fun than anyone in the audience is likely to be having, it's such a rip-snorting go-for-broke performance that it almost makes R.I.P.D. worth the price of admission. Almost.

Top Trailers