Entertainment Weekly's Scores

For 5,509 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:
5509 movie reviews
  1. It's as self consciously arty and fragmented as ''Twin Falls'' was controlled and organically built.
  2. By the end of Death at a Funeral's effortful farce about busted British propriety, you may feel that peculiar facial ache that comes from wishing to laugh with no really satisfying release.
  3. In a strange way the Williamson of "Dawson's Creek" is now at odds with the sophisticated joker who wrote "Scream."
    • 39 Metascore
    • 58 Critic Score
    "The Professional's" Luc Besson has made a fair share of artfully bad movies. Arthur and the Invisibles -- half-live-action, half-CG kid's adventure -- is (by a hair) more bad-bad, like "The Fifth Element," than good-bad, like "The Big Blue."
  4. A sad-but-hopeful, dramatic-but-gentle fairy tale intentionally made less upsetting for teens.
  5. With so much flesh crunching and bloodletting, it could have been scary as all Walking Dead get-out. Instead, the movie plays safe by cutting every theme down the middle - a swing that's effective when splitting wood or vampire skulls, but dull when applied to filmmaking.
  6. The First Wives Club has all the conviction a comedy of female vengeance needs. But as soon as the dumb plot takes over, the wit leaks out of the movie like helium from a balloon.
  7. At least some Goode may come from Chasing Liberty: I hope we'll be seeing more of the handsome and unboyish young man with big star potential who looks ready to take on more, not Moore.
  8. Once again, we're treated to loosely aligned scenes of half-formed characters getting a faceful of director Takashi Shimizu's croaking, implacable, and, yes, still scary housewife-geist.
  9. The gruesomely unnecessary remake of The Texas Chainsaw Massacre is such a smorgasbord of slimy grunge that to call the movie gross wouldn't do it justice -- it's downright sticky.
  10. Adam is cute and all, but the real strings worth tying are those that bind this sisterhood of sharp, interesting, sexually active women together. Where's THEIR starring movie?
  11. It’s a rom-com setup lamer than anything in the Barrymore-Sandler canon, but Binoche and Owen tackle it like high drama and eke out a few sweet moments.
  12. Tower Heist is the cinematic version of a Trump property: overblinged, eye-catching, and essentially tacky.
  13. There’s a real story of American heroism somewhere in here, but it’s diluted by Bay’s worst tendencies.
  14. The movie represents an earnest effort to compensate for all the love the media has shown to firefighters and other land-based first responders in recent years with little thought to the Coast Guard; the drama also crashes on wave upon wave of clichés.
  15. The Mask, a rattletrap Jekyll-and-Hyde farce, surrounds Carrey with a nothing plot and a cast of ciphers. Still, his scenes as the Mask are rowdy and enjoyable.
  16. Mildly cute, mildly drooly, majorly too late spoof/homage.
  17. Everything about Foster's ocular intensity is riveting, but little in this hushed vigilante drama makes sense.
  18. As the players enact the fall and rebirth of civilization, Meirelles suggests that even a society gone to hell looks better with a little music-video-like pizzazz.
  19. The story is so bored with itself, it collapses -- but the diverse troupe of dance talents at least makes it an eclectic slide.
  20. Simplest of its charms is the opportunity to watch Mortensen adapt his charismatic demeanor of wary, taciturn soulfulness from that of a Middle-earth king-in-waiting to one fitting a half-Lakota horseman in 1890.
  21. A decent disaster pic comes down to the handful of colorful individuals who will live (or, depending on the prominence of their billing, die), as it has since the days of chewy disaster meatballs like ''The Towering Inferno'' and ''Earthquake.'' And the heaviest lifting in Emmerich's production falls to Dennis Quaid and Jake Gyllenhaal.
  22. The screenplay, by Zemeckis and William Broyles Jr., plumps Van Allsburg's simple fable about the purity of childhood faith in what can't be seen with all sorts of wholly invented characters, complications, and declarations.
  23. It's not the fault of "The Sopranos" charismatic, beefy star (Gandolfini) that he's an actor of such substance and quiet ardor as to make idle movie star ribbitting look frivolous.
  24. Never harmonizes into a cinematic experience any more resonant than the average, manly, why-we-fight pic, or coalesces into a stirring cry for freedom.
  25. The brittle, very ''written'' catty quips meant to characterize Washington hypocrisy sound perfunctory; the story of an aging, self-hating homosexual who goes home alone to his lacquered town house feels ancient as well as uncomfortable for the writer-director. (Harrelson seems both game and ill at ease.)
  26. Less classic Mel Brooks than middling "Best Week Ever."
  27. Basically, it's "The A-Team" meets "Rambo" meets "Mission: Impossible," with a mission that's one part trickiness, four parts blowing stuff up.
  28. When it's dull, which it is too often for a kidnap caper, this movie is about a woman chirping ''notice anything new about my outfit?'' to a man whose idea of style is a jacket not crusted in human blood.
  29. A fake street drama that keeps telling you things instead of showing them, though Mekhi Phifer, playing a hustler who loves the life, is electric and true.

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