Entertainment Weekly's Scores

For 6,265 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 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Dunkirk
Lowest review score: 0 Light It Up
Score distribution:
6265 movie reviews
  1. Everything old is old again in this rickety extension of 2002's already rickety "Van Wilder."
  2. 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.
  3. 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.
  4. It’s a fun, pulpy premise, but sadly, the film takes a route that’s too silly to be taken seriously and too tame to be any fun.
  5. 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.
  6. The teachers (including original cast member Debbie Allen as school principal) turn out to be the best part of the show.
  7. 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
  8. You can forget about veracity, since this gauzy and sometimes dopey romanticization can't be trusted.
  9. Mandy Lane does eventually build to a whiplash twist ending, but it's too little, too late — much like the film itself. Here's a case where the backstory is more interesting than the movie.
  10. The plot is a nonsensical mess -- which just caps off the ugliness.
  11. This clumsy, cheesy, chintzy adaptation, with its F/X that look dated the moment you see them, is like something left over from the '60s.
  12. The accountant in Bloom would probably approve of the new Producers: It's an efficient extension of a popular brand. In theory, what's not to like? In reality, the whole schmear.
  13. A trashy, frenetic remake of Fred Zinnemann's 1973 The Day of the Jackal, The Jackal is mired in blood, cheap shocks, and a random network of improbability.
  14. Dudsville.
  15. About the only thing the movie kills with any decisiveness is your time.
  16. The young cast is terrific, giving the stories unearned weight.
  17. Shyamalan's most alienating and self-absorbed project to date.
  18. Turns out to be just another dud in the genre of revisionist mysteries that have been messing with our heads since Haley Joel Osment saw dead people. Only this time, the big reveal doesn't so much twist the plot as snap its neck.
  19. The comedy here isn’t very funny and the drama isn’t very sharp.
  20. Shirley MacLaine’s well-deserved reputation as a salty, snappy grand dame — forged from later-career work like "Terms of Endearment," "Steel Magnolias," "Postcards from the Edge," "Bernie", etc. — unfortunately precedes her in this sloppy, saccharine drama costarring Amanda Seyfried.
  21. After an hour of inert exposition, a race through Shanghai gooses the movie alive. Then it plunges back into torpor.
  22. Directors Zeke and Simon Hawkins add air-quote references to Jim Thompson, Steven Soderbergh, and the Coen brothers but are too proud of the movie's twists to make them truly snap. Call it "Blood Simple-ton."
  23. Slight even by the wafer-thin standards of the wedding rom-com genre, writer-director Jeffrey Blitz’s Table 19 offers a couple of mild chuckles, six actors who’ve all been far better elsewhere, and a mercifully brief running time.
  24. Talented actors stumbling through clichéd plot twists (Shirley’s nemeses actually envy her), flat one-liners (”Marriage is like the Middle East — there’s no solution”), and pithy self-affirmations (”I’ve fallen in love with the idea of living”) that undermine any genuine feminist sentiments.
  25. Daniels plays Arlen with a kind of cuddly crankiness; he makes him a jerk who just needs a hug.
  26. The Rocketeer is mostly an example of pop moviemaking at its most derivative.
  27. Most of the numbers in Rock of Ages are flatly shot and choreographed, and they look as if they'd been edited together with a meat cleaver. With rare exceptions, they don't channel the excitement of the music - they stultify it.
  28. If Take My Eyes explored how a woman could still feel for a man who abused her, it might have gripped us with its difficult truths. But the movie presents Pilar and Antonio's marriage as a stale, neurotic dead end.
  29. Slipshod rather than sly. There's no fury to the movie, repressed or otherwise, which may be why when the Revolution arrives, it has all the impact of a guillotine with a deadly dull blade.

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