Entertainment Weekly's Scores

For 5,890 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 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Wet Hot American Summer
Lowest review score: 0 What the #$*! Do We (K)now!?
Score distribution:
5890 movie reviews
  1. Has no pretentions to be anything more than a goose-bumpy fantasy theme-park ride for kids, but it's such a routine ride.
    • 32 Metascore
    • 50 Reviewed by
      Ty Burr
    Shabbily filmed, thoroughly harmless Official Product.
    • 27 Metascore
    • 50 Critic Score
    Saldana (Avatar, Guardians of the Galaxy) is an accomplished and bankable actress, but she doesn’t look much like Simone. That has led to several complaints, including from the Simone estate.
  2. The movie, by Dutch director Jan Kounen, is all surfaces, set pieces, Significant Looks, and voguing -- the same strictures Chanel and Stravinsky sought to bust.
  3. For women who smoke and drink like fiends, the trio of pre-owned babes in this weirdly rotten femme-porn romance have awfully good, unwrinkled complexions.
  4. Like other movies of its ilk, it's missing a very simple bit of next-level Hollywood technology: a tripod.
  5. When Bebop's anime characters stand still, chirping their strangely stilted, dubbed talk and not moving their strangely blank faces, I feel lost on Mars myself.
  6. A twisted helix of "Memento" and "Munich" without either of those film’s craft, depth, or thematic murkiness.
  7. The filmmaker keeps himself squarely on screen. This is fine when he engages in throwdowns with the bigots but distasteful when Levin shows himself reacting to footage -- unseen by viewers -- of the beheading of reporter Daniel Pearl.
  8. Bereft of any flesh-and-blood honesty, the last half of the movie plays like a ludicrous PBS version of "Mandingo."
  9. With his latest film, the mawkish and melodramatic Labor Day, Reitman has done an unexpected about-face: He's ditched Wilder for Douglas Sirk. And the swap doesn't do him — or his fans — any favors.
  10. This very Canadian thriller (i.e., no humor, lots of literal-minded future-shock portentousness) certainly does a number on you, though not necessarily a pleasurable one.
  11. The heist in Heist is pretty pedestrian, and the film turns into Die Hard-on-a-bus with a couple of so-so twists and serviceable spasms of action. If that’s what you’re looking for, rent Speed instead.
  12. Works hard to be exciting, but the movie scarcely lives up to its title. It could have used a bit of a fuel injection itself.
  13. It's as if, on the umpteenth Asian-horror Xerox, the ink has run dry.
  14. [A] gimmicky actors' holiday.
  15. By the end, every child in the audience will want his or her own monster-minion toy. Adults will just regret the way that Despicable Me 2 betrays the original film’s devotion to bad-guy gaiety.
  16. One more case of a winning ''SNL'' character tamed by the wan, fizzled farce around him.
  17. Gandhi tries to dodge criticism of his mocking scam by rationalizing that even a phony wise man can offer real solace.
  18. XXY
    It's set at a beach house, but we see only gray skies, and though Efron has a wary and cutting intelligence (it matches that of the fine actor Ricardo Darin, who plays her father), the effect is tepid and damp.
  19. At no time do the men -- that is, the straight ones -- believably hold the upper hand. In the new town of Stepford, there's no bitterness, no struggle, no competition, none of the scars of the sexual revolution. There's just gay apparel.
  20. Fourteen years after "Happiness," why is director Todd Solondz still mucking around with the sort of idiot neurotic dweeb who makes George Costanza look like George Clooney?
  21. The problem isn't so much what the film is saying but its shrill, alarmist tone. You don't have to be a sociological genius to look at all of us walking down the street like zombies, obliviously staring at our smartphones, and know that something's wrong.
  22. Everything old is old again in this rickety extension of 2002's already rickety "Van Wilder."
  23. Ends up blowing its own joke. Instead of making Joe blissfully arrogant in his Southern rock dude myopia, it turns him into a shuffling masochistic loser.
    • 42 Metascore
    • 50 Critic Score
    The Boy, from director William Brent Bell, aims to set itself squarely in the fictional canon of "Chucky" and its brethren, but it ends up trying to do so much that it forgets to scare us.
  24. In one of his final roles, Philip Seymour Hoffman stars as a man whose no-good stepson is killed on a construction job, while John Turturro, Richard Jenkins, and Christina Hendricks round out a formidable cast that isn’t given much to work with.
  25. The teachers (including original cast member Debbie Allen as school principal) turn out to be the best part of the show.
  26. Not until the last 20 minutes does Gozu come fully alive. A man has sex with a seductive beauty, who then gives birth to...well, let's just say it's a sight that may take time to fight its way out of your head.
    • 31 Metascore
    • 50 Critic Score
    Playing a sleazeball who has stumbled upon an excellent excuse for his bent, Cage holds the movie together as best he can. More important, he nails down his unique approach to acting, managing to be simultaneously stylized and naturalistic. [7 June 1996, p.66]
    • Entertainment Weekly

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