Entertainment Weekly's Scores

For 5,467 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 Two Girls and a Guy
Lowest review score: 0 The Hottest State
Score distribution:
5,467 movie reviews
  1. Agresti fattens us up with the kind of kid's-eye-view tragi-comic adventures that regularly supply empty calories in artificially sweetened foreign-language imports.
  2. What it isn't is a believable relationship. Yet that may scarcely matter to LaBute, a gifted and corrosive wordsmith who appears intent, by now, on shoving all romantic couplings into the meat grinder of his misanthropic design.
  3. A synthetic yet shrill sadomasochistic cartoon.
  4. The frustration of this good-hearted, off-key warble of an indie, written by Rose with Robert Cary, who directed, is that the filmmaking pales when compared with the classic elements of 1950s and early '60s romantic musicals to which it pays homage.
  5. Instead of a full-bodied comic portrait of the coming-out-party set, Metropolitan offers a thin, cartoon version. Then it uses that cartoonishness to make everyone on-screen seem irresistibly cute.
  6. An old-fashioned romance-and-sickness picture, a publicity-grabbing sex picture, an Apatow-lite horny-boys picture, and a liberal satire on pharmaceutical-industry excesses committed in pursuit of pill sales - all in one.
  7. The result isn't liberated from the stage; it's trapped, with waxworks literalness, onscreen.
  8. This is one of those films in which the Act of Driving becomes a 10-minute statement of high emptiness; Dumont even manages to make sex in the desert boring.
  9. As it moves from the drizzly to the overly stormy, Rain freights a young girl's self-destructive eagerness to lose her virginity with so much danger and even horror that it's as if the events were trying to make up for the film's previous lack of drama.
    • 38 Metascore
    • 58 Reviewed by
      Ty Burr
    Forgoes the destructo silliness of the original in favor of one too many bland self help subplots.
  10. More potent than anything in Snakes on a Plane is the fantasy offscreen: that if enough people talk up their desire to see this film and, at the same time, take an overt delight in what an unabashed piece of junk it is, they will fuse with the hype, with the movie's mystique. They will not just watch Snakes on a Plane; they will own it.
  11. The movie zips around without any true forward momentum. The stars carry you along, though.
  12. Funny, director and co-writer Dani Levy suggests with no little coldness, how the scent of money can do what religion, ideology, and ethical principles cannot.
  13. A movie so stuffed with eccentricity, it rips at least a couple of seams.
  14. With its smooth skinned cast and demonized adults, doesn't feel very authentic.
  15. The Human Stain is, contradictorily, drained of color by the spotlight turned on its charismatic leads. Between the labors of simplifying the story for the screen and accommodating the stardust of world-class actors, an essentially, uniquely American tragic hero and heroine are bleached of real American tragedy.
  16. Pucci proves to be one of the most charismatic male ingenues since Johnny Depp.
    • 41 Metascore
    • 58 Critic Score
    Uninspired, sure, but sporadically, spasmodically funny.
  17. Adams, of course, is a peach. Her sparkle requires only minor character adjustment and twinkle recharging from her recent triumph as the old-fashioned modern heroine in "Enchanted."
  18. Forget "Monty Python," You Don't Mess With the Zohan is a circus that never really flies.
  19. RED
    Unfortunately, while RED's stars may have gotten better with age, its many clich├ęs have not.
  20. In the world according to Eurotrip, the Europeans may be a twisted, outdated, ridiculous lot, but what defines them is that unlike the Americans, they've never quite evolved to irony: They treat even the scuzziest habits with dire sincerity.
  21. Romeo & Juliet is a series of spectacular production designs posing as a motion picture.
  22. Consider this a public service announcement: Folks who have a problem with onscreen flesh-hacking - or the fact that franchise stars Jean-Claude Van Damme and Dolph Lundgren aren't in the movie all that much - should stay home.
  23. Under Reitman's deanship, Ferrell lets his freak flag fly and Vaughn unlooses a notably funny, light-on-his-feet lunkheadedness.
  24. A horror film that consists of virtually nothing but don't-go-in-the-attic suspense scenes strung together with a reasonable degree of brooding mood and a minimum of logic.
  25. The film is almost deliriously stylish, which helps mask the silliness. But the bellowing music, by John Adams, is infuriatingly intrusive -- which undoes the visual good.
  26. A historical drama as static as it is stately.
  27. A harmless crime caper. It stars Peter Facinelli (Nurse Jackie, the Twilight series), who also wrote the script, shaping the movie to his facile, unlayered charm.
    • 49 Metascore
    • 58 Reviewed by
      Ty Burr
    Murphy gives a reined in performance that, every so often, shows a spark of the ''Shrek''ish donkey within.

Top Trailers