Entertainment Weekly's Scores

For 5,417 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 3.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 2001: A Space Odyssey
Lowest review score: 0 Bigger Than the Sky
Score distribution:
5,417 movie reviews
  1. Raging ego aside, the penny-ante hucksterism of his I'm-going-on-dates-to-get-famous-making-a-movie-about-dates approach is too cloying and opportunistic to bear.
  2. If you're looking for comic insights beyond the well-documented ass differential between whites and blacks, well, golly, you ought to try another carrier.
  3. An afterthought of a plot ships the family from Kansas to the O.C., offering SoCal set pieces -- like a doggie surfing contest -- to spackle the few gaps between big-dog-small-world jokes.
  4. Seems populated yet uninhabited; the only real star is the gloom.
  5. An only-in-the-movies mother hustles pool to raise the money to abduct the son she's been forbidden to see since her divorce.
  6. I'm happy to report, though, that even a dud like Spy Hard can't completely douse the stumbling Zen charm of Leslie Nielsen, whose genius is that he never quite sheds the illusion that he isn't in on the joke.
  7. A fairly harmless fertility rite with a skewed if not downright ugly view of women.
  8. Too chicly depressive -- and, for the most part, too dull -- to bear.
  9. Enjoyable only if you're under the age of 7 -- or the influence of psychedelic drugs.
  10. The ultimate sad realization is not that Dumb & Dumber To doesn't match the original's good-time quotient, but that it might not even be as good as—yikes — "Dumb and Dumberer: When Harry Met Lloyd."
    • 53 Metascore
    • 42 Critic Score
    Aims primarily for the kiddies, racing from one frenetic action sequence to another like some haywire Walter Lantz cartoon.
  11. At bottom, there's just too much spy in young Cody, and too little kid. The writers might've taken (another) page from the ''Spy Kids'' playbook and infused the action with youth relevance.
  12. Rigid, airless, and browbeatingly repetitive, Das Experiment is an overly didactic piece of thesis hectoring; it's like ''Lord of the Flies'' set in a Skinner box.
  13. It's not the homosexuality that's dubious here, it's the chicken.
    • 49 Metascore
    • 42 Critic Score
    Looking back, 1993 was a golden age for thriller cinema. That was the year Hollywood hatched both "In the Line of Fire" and "The Fugitive," the two obvious and way superior antecedents for the very humdrum B-movie mash-up The Sentinel.
  14. Can these banal relationships between undifferentiated lovelies be saved?
  15. Her setups here are so witless and pedestrian that there's no imagination to the crude slapstick punchlines; we're just watching a bland jester pantomime sensory overload.
  16. Petroni takes the poem at face value, turning diaphanous literary imagery opaque and literal.
  17. The more that secret comes out, the more incoherent (and ludicrous) the film gets.
  18. The creepy-faced robot twin babies are funny (for a while); the rest of the film is not. It's like "Meet the Parents" with Dr. Phil as the officiant from hell.
  19. The movie wants to be Hitchcockian, but it's the flat-footed Hitchcock of "Marnie" that Park evokes. His filmmaking here is hermetic and lugubrious, with each physical movement meaninglessly heightened and every line hanging in the air with (empty) significance.
    • 19 Metascore
    • 42 Critic Score
    The pathogenic agent to fear, however, is the one that evidently turned every line of dialogue into inane gibberish.
  20. Trite lessons are learned. Plotlines play out in familiar arcs. A few blips of sex and drug use aim to make the movie feel more grown-up. Instead, they make it off-limits to the only age group likely to find any charm in its smug Britcom cutesiness.
  21. The film tries to paint in shades of gray with vague criticisms of the war on drugs, but the absurdity of its he-man Everyman plot ends up turning its moral palette a muddy brown.
  22. The movie is a folly, a desultory vanity project for its director and co-writer. But for those very reasons, W.E., by world-renowned personage and lesser-known filmmaker Madonna, is not without twisted interest.
  23. Bale exists all too large under the circumstances, a well-fed actor playing at emaciation for the sake of a fiction about a character whose torment is as unreadable as his vertebrae are countable.
    • 63 Metascore
    • 42 Critic Score
    Pierson, with his carrot-thin frame, gogglish specs, and gnashingly quick temper, traipses around Taveuni like the king of the white-man geeks, alternately proclaiming the saintliness of his crusade and throwing tantrums whenever somebody else fails to sufficiently recognize it.
  24. Be wary of any movie in which the hero is monosyllabic and a stutterer at the same time.
  25. The film's chief novelty turns out to be its drab ''literary'' approach to horror.
  26. The big goofball relies too much on the funny hair and swingin' postures of the era as punchlines in themselves.

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