Entertainment Weekly's Scores

For 5,466 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 Two Girls and a Guy
Lowest review score: 0 Bigger Than the Sky
Score distribution:
5,466 movie reviews
  1. Allen isn’t completely on autopilot here. There are a couple of sharp, sting-in-the-tail twists near the end, and Phoenix is at least interesting. But Irrational Man would be lesser Woody even if we hadn’t seen most of it before.
  2. 27 Dresses is a movie geared to a pitch of high matrimonial-princess fever.
  3. Radio is assembled from small, hard stones of ignorance and intolerance paved over by large, mushy examples of community goodness.
  4. Van Damme and his cronies (including Lela Rochon, Paul Sorvino, and, for no immediately graspable reason, Rob Schneider as Van Damme's rabbity sidekick) race, speed, shoot, chop, and zip through scenes of such festive mayhem, plot is a clunky afterthought, like a lopsided fake Prada label on a cheap nylon knapsack.
  5. It’s a decent critique of romance in the digital age—until you realize how boring it is to watch people break up on Facebook.
  6. There's nothing particularly revolutionary about writer-director Robert Edwards' grimly satiric political fable.
  7. Andy Garcia reminds you of what a cunning, likable actor he can be.
  8. If Minions were a toy, you’d hide its batteries.
  9. For two and a half hours, Edel lays out the bombings, kidnappings, and murders committed by the Baader-Meinhof group, which mutated into the RAF. He catches the violently delusional self-righteousness of their antifascist fervor, but as individuals these cultish guerrillas remain opaque.
  10. The Promotion edges toward some pretty bleak stuff. Then it steps back and laughs, like an office slacker.
  11. As the reigning inhabitant, Redgrave adopts the swanning gestures of Maggie Smith in this mild adaptation of a Maeve Binchy story.
  12. And when [Roberts is] on screen with Mulroney, who seems a frat-house jerk -- all dimples and a perma-tan -- we don't feel much of anything.
  13. In My Country doesn't so much explore as use the tragedy of black South Africa to give its heroine a righteous slap of nobility.
  14. With no baseline ''truth'' to be found among the cartoony characters and cheesy twists, the whole production feels like a Texas-size load of secondhand lyin'.
  15. Cop Car feels like a great short stretched into a mediocre feature.
  16. It's all way too heavy-handed, though nicely acted by Hirsch, Culkin, and, especially, Jena Malone.
    • 36 Metascore
    • 58 Critic Score
    Without fail its upbeat cheesy wholesomeness is always good for a smile.
  17. The sexy, scruffy, neo-Warriors pageantry of ghetto teen hunger would have been a lot more vital if Clark didn't have such a class-war chip on his shoulder.
  18. An overdeveloped coming-of-age potboiler.
  19. Couldn't Mike Judge, with his acid wit, have come up with a better title for a suburban-schlub comedy than ?Extract?
  20. A weakly scripted shambles.
  21. Ellis (The Good Wife's Graham Phillips), an alienated teen, smokes weed and hangs out with a goat-obsessed, pot-cultivating surrogate father (David Duchovny, hidden by hair). New Age details aside, though, Ellis is easily identifiable as a distant cousin-by-genre to J.D. Salinger's Holden Caulfield.
    • 33 Metascore
    • 58 Critic Score
    Too bad, because until it essentially turns into a medical-thriller version of "Look Who's Talking," the movie hums along comfortably enough as slick B fare.
  22. Russo-Young studies the strange species of affluent Angelenus erectus under a microscope that distorts every character into unbelievability.
  23. Hancock can revel in schmuckery, of course, because you and I and cute kids and peaceful oldies worldwide know in advance that there's no way on Hollywood's green earth Will Smith will ever play someone seriously, dangerously unsavory.
  24. The charms of Evans (from 1995's oddball Funny Bones) and Lane (who's at his best playing to the balcony) are lost in all the detailed hubbub.
  25. And although director Paul Anderson treats the story with appropriate deadpan respect, there are enough sparks of humor (particularly generated by Linden Ashby as a shallow martial-arts actor who worries that he's a fake, with good reason) to amuse the adults accompanying the 10-year-old boys in the audience.
  26. Isn't incompetent; it's just plodding and obvious. If anything holds it together, it's The Rock's ironic ability to tread lightly, which the movie is neither fast nor inventive enough to recognize as different from the spirit of Arnold.
  27. Offers tricky fragmentation without mystery or mood; it's a mosaic of fear that grows less and less unsettling as it comes together.
  28. Even though Bullock engages in a climactic scene of blue-screen peril, she essentially cedes the match to the kids. In this mediocre murder case, their presence is the only thing that's really killer.

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