Entertainment Weekly's Scores

For 5,511 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 Little Women
Lowest review score: 0 Ace Ventura: Pet Detective
Score distribution:
5511 movie reviews
  1. 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.
  2. It's a veritable Greek chorus of wry therapeutic chatter, the touchy-feely pensées skittering over the stock dualities of adultery and fidelity, lust and devotion, narcissism and intimacy, blah, blah, blah.
  3. A clunky family-therapy soaper.
  4. A Jekyll-and-Hyde teen comedy that sounds like a Pauly Shore reject, but Qualls moves his marionette body around with a true clown's effervescence, and he does rubber-faced parodies of youth cool that are just what youth cool deserves.
  5. Incident at Loch Ness, unfortunately, is a riddle wrapped in a hoax stuffed inside a crock.
  6. A quaint, romanticized rendering.
  7. This cranked-up drama wants it both ways.
  8. Aggressively drab and granular, the movie feels like a late-'80s AIDS passion play given an ill-fitting post-Sept. 11 makeover.
  9. Lee's performance is by far the best thing about The Crow. Unfortunately, he's just good enough to make you wish that the movie had had a whisper of storytelling invention to go along with its showy visual design.
  10. The drama is so minimalist that it's hard to glimpse the man behind the woe.
  11. The sheer, animal idiocy beaming from their faces in the opening credits of The Brothers Solomon creates the film's only moment of uncalculated comic joy.
  12. Croft is one humorless butt-kicker. Excavations in exotic lands have rarely looked so much like items on a to-do list.
  13. Amusing in its very shallowness.
  14. Mostly preposterous, and it has no dramatic center, but the racing scenes hold you in their death-trip grip.
  15. The voices of Liam Neeson -- as the film's narrator -- and his late wife, Richardson, inevitably add to the project's poignance.
  16. That everything gets worked out -- friendship affirmed, jokes made about silly magazine articles on reeling in a boy -- is as sure as the soundtrack's inclusion of a Mandy Moore song.
  17. Dominic West (The Wire) plays a facially mutilated Mob boss as if he's in a broad SNL sketch.
  18. By the time the movie finally manages to get interesting, audiences may be too numb and their retinas too fried to win back.
  19. Pooh's Heffalump Movie is a harmless little ''ex-po-tition'' (to use a Pooh-ism). Still, making this your kids' first Pooh experience would be like weaning them on New Coke.
  20. It doesn't quite wash. Guédiguian has a telling instinct for the buried shame of working-class squalor, but his film is inflated with a doom that feels programmatic rather than earned.
  21. It would be nice to see a sharp, funny, penetrating satire of the new, kicked-up culture of empty media fame, but Tom DiCillo's scattershot buddy movie Delirious isn't it.
  22. We Are Marshall has little of the bone-crunchingsincerity of the recent pigskin rouser "Invincible." This one is more like Unconvincing.
  23. Predestination's pace is too slack, and the brothers are so painfully tentative as storytellers that the easily guessed big twist gets three separate reveals.
  24. It's a canned clip reel of Heartwarming Sports Comedy, intermittently redeemed by its easygoing boomer vibe. And at its center is the redoubtable Bernie Mac, nicely aged, as he says, ''like USDA beef.''
  25. The depiction of Guantánamo Bay as a banal, ugly hole of a place waiting to be condemned makes for a compelling first half hour in this military drama.
  26. Basically a nifty VFX reel in search of a plot.
  27. What is surprising is how little Polanski juices the material with his usual devilish touch.
  28. A boxing film with no conflictual punch.
  29. Part punk-drab British art-house portrait of underclass despair, part bloody vigilante pic, Harry Brown is shakily held together by industrial-strength sound design and the expertly employed theatrics of Michael Caine in the title role.

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