Entertainment Weekly's Scores

For 5,390 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 The Dish
Lowest review score: 0 Bangkok Dangerous
Score distribution:
5,390 movie reviews
  1. 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.
  2. Scottish actor Peter Mullan saves a drama tangled in the seaweed of life lessons from drowning in pathos.
  3. Mostly comes down to rage fiends going at one another with baseball bats, knives, pesticide tanks, and power drills.
  4. Sean Penn doesn’t make movies very often these days. So when he does, you go in with certain expectations. Sadly, it’s best to leave them at the concession stand if you’re planning on enjoying The Gunman.
  5. The warmth comes through, even if the storytelling is simplistic and clichéd.
  6. House 2 may never elicit more than mild chuckles, but when Momma teaches the Fullers a few lessons about family, it's heartfelt without being syrupy.
  7. The difference between "Pretty Woman" and Runaway Bride is that we can no longer buy Roberts in her tearful romantic-melancholy mode. It seems vaguely patronizing now.
  8. As a movie, Freakonomics is like Jujubes for the brain - it starts to get cloying halfway through the box.
  9. Undoubtedly a trifle, but it's still kind of nice for a summer movie to try charming us instead of just bludgeoning us into submission.
  10. Every so often, Keanu Reeves' robo-voiced blankness serves him well, but when he has to play a pulpy, tormented demon-saint, scraping up insults and spitting them out like bullets, he's like the host of an infomercial doing an impersonation of a badass.
  11. But in this standard athlete-dies-young presentation, we never do catch the magic that made Steve Prefontaine a towering figure. Instead, this Pre is a shaggy-haired, sentimental favorite -- a teen angel rather than an Olympian.
  12. Overworked if heartfelt indie.
  13. Some motion pictures portray ultimate passion; others create ultimate thrills. Men in Black II achieves ultimate insignificance -- it's the sci-fi comedy spectacle as Whiffle-Ball epic.
  14. Clint Eastwood's American Sniper is a film that evokes complicated emotions. A month after seeing it, you might still be wrestling with whether it's powerful, profound, or propaganda.
  15. All those twangy, homespun observations interrupt and annotate the narrative until Black and MacLaine's scenes start to feel as trivial as reenactments on a true-crime TV show.
  16. The hothouse drama Mother and Child is organized like a femme-friendly spa that specializes in treatments for the psyche rather than the skin. Soft New Agey music tinkles intrusively. Sore spots are prodded and massaged. Clients pass one another in the changing room. The ritual is exquisite to some, and excruciating to others.
  17. Hart's exasperated dervish shtick has moments of real live-wire anarchy, including one priceless gag at a firing range. Will it be enough to make Hart a household name? Maybe. But both he and his fans deserve better.
  18. Werewolves are tame with overuse, and movies like Blood and Chocolate -- where moments of inspiration vie in vain with Goth cliché -- play like underlit "Charmed" reruns.
  19. True to his stolid, humanist instincts and characteristically stodgy directorial style, writer-director John Sayles creates a story more educational than engrossing.
  20. The aliens aren't particularly scary or funny, and so the joke of watching Smith and Jones crack wise in their faces wears thin.
  21. One of those feminist cries in the dark in which the heroine, a saintly sufferer, is more admirable than interesting.
  22. Safe has more action than intrigue (or logic), and it's boilerplate vicious. It may satisfy Statham's fans, but they - like he - would do well to enlarge their expectations.
  23. Filmmaker Greg MacGillivray, a specialist in gigantic-screen nature movies including "The Living Sea," is up to date in his use of 70mm IMAX film, but he's stuck in the past about how to tell a story.
  24. A collection of shorts, here presented as flashbacks. All three derive from A.A. Milne's original tales, but retain only a smidgen of his droll, easy-chair wit.
  25. Their message (Cassavetes and screenwriter Jeremy Leven) in My Sister's Keeper? Cancer sucks, but there's always the balm of beach scenes and an emo soundtrack.
  26. A celebration of the theater that tends to drag the moment it's out of drag.
  27. Enough cheery mockery to amuse even non-tokers.
  28. So diaphanous it practically dissolves as you watch it.
  29. A bland, pious yet touching faith-based tearjerker.
  30. Oblivion has enough special-effects artistry to keep you distracted for a while. But all the eye candy in the world can’t mask the sensation that you’ve seen this all before…and done better.

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