Entertainment Weekly's Scores

For 5,868 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 3.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Afternoon of a Faun: Tanaquil Le Clercq
Lowest review score: 0 Sleepwalking
Score distribution:
5868 movie reviews
  1. 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.
  2. Wilson has some deliciously awkward laughs thanks to Harrelson’s curmudgeonly, childlike performance, but it zips right along without ever landing any emotionally resonant blows.
  3. 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.
  4. He's Just Not That Into You turns romantic sanity into something so sanitized that it starts to make delusion look good.
  5. 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."
  6. 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.
  7. 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.
  8. Scottish actor Peter Mullan saves a drama tangled in the seaweed of life lessons from drowning in pathos.
  9. Mostly comes down to rage fiends going at one another with baseball bats, knives, pesticide tanks, and power drills.
  10. The big draw should be 3-D, which enhances the visual intimacy, though only in shooting a male orgasm does Noé go gonzo with the format.
  11. 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.
  12. The warmth comes through, even if the storytelling is simplistic and clichéd.
  13. 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.
  14. 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.
  15. As a movie, Freakonomics is like Jujubes for the brain - it starts to get cloying halfway through the box.
  16. It’s the movie equivalent of a cake that’s all frosting.
  17. 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.
  18. 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.
  19. A hot, strange mess that never quite comes together the way it should.
  20. 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.
  21. Overworked if heartfelt indie.
    • 40 Metascore
    • 58 Critic Score
    So while Out of the Shadows may not be any smarter than the first installment (or really all that smart at all), it’s certainly a lot more fun.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. The Great Wall looks like it could be a really amazing video game. Alas, it’s a movie, and kind of a brick.

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