Entertainment Weekly's Scores

For 5,426 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 Ponyo
Lowest review score: 0 Bigger Than the Sky
Score distribution:
5,426 movie reviews
    • 48 Metascore
    • 67 Critic Score
    As pleasantly plastic as its retro-chic sets.
  1. What defines the slacker-geek twentysomething men and women who wander through Joe Swanberg's too-hip-to-be-romantic comedy Hannah Takes the Stairsis that they treat their libidos as minor accessories -- only to stammer through every casual conversation as if they were on a first Internet date.
  2. It's an energetic stunt of a movie, and it wants to make us sweat like it's 1974.
  3. The movie flaunts its comedy roots like a messy bleach job.
  4. A strange, black-and-blue therapeutic drama equally mottled with likable good intentions and agitating clumsiness.
  5. In the heaving cross-century swirl of the climax, ''Weight'' makes its point: Jealousy is timeless; Hurley is not.
  6. Remarkably, the result manages to be both more preposterous and more efficient than its predecessor, with a couple of deaths occurring so swiftly they border on the subliminal.
  7. In the end, One True Thing suggests, families can be healed even in loss. This may not be a true thing, but at least this emotional drama offers up hope, sweet like one of Kate Gulden's tasty cakes.
  8. A triumph of performance, production, and adaptation over the empty-calorie dither of its source material.
  9. Not to get all Dorothy about it, but when it comes to Cars, there's no place like home. The emotional punch of the original is inextricably rooted in the movie's appreciation of off-the-beaten-track America, and all that homegrown vintage car culture signifies.
  10. Unfortunately, Run All Night gets a little slack with its third act and runs out of steam by the time the final showdown arrives.
  11. But now we're a lot more accustomed to seeing movie characters mold their destiny through special effects, and since Peirce films the climax in a rather depersonalized, shoot-the-works way, Carrie comes close to seeming like an especially alienated member of the X-Men team. She blows stuff up real good, in a way that would make the devil — or Bruce Willis — proud.
  12. Mariah Carey is perfectly fine playing a waitress who dreams of becoming, yes, a singer -- even if the superstar's presence in such a small venture seems jarring.
  13. Saw
    Saw is a gristle-cut B psycho thriller that would like to tap the sickest corners of your imagination. It has a few moments of nightmare creepiness, but it's also derivative and messy and too nonsensical for its own good.
  14. The movie has a hushed sensual resonance, but it turns faith into an endurance test.
  15. Haywire cavorts around the world - Barcelona, Dublin, upstate New York, New Mexico - with Bourne-again energy and timeline shuffles, making only cursory attempts at plot coherence
  16. To turn fondly remembered TV trash into a movie that knows it's cruddy -- and that isn't, therefore, quite as cruddy as it might have been -- takes a perverse pinch of talent, if not style.
  17. The Big Apple of this evanescent tone poem is an invented nocturnal landscape featuring speechifying eccentrics and absurdist moments that feel northern European in sensibility.
  18. I rather like the whole mystic- crystal-revelations aspect of K-PAX, and the idea that even a psychiatrist of Jeff Bridges' handsome, American substantiality is open to notions of cosmic improbability.
  19. The storytelling may be ordinary, but the cast is one of those all-star reunions.
  20. Lee, I'm afraid, hasn't a clue. He has made half a movie, a phone-sex comedy in which the heroine has no real existence apart from the phone.
  21. Too fragmented to be much more than a flip of the finger to history; the movie, with its mostly mute characters, is too content to plod.
  22. Step Up 3D isn't, in dramatic terms, a very good movie, but it's the first film in a while to use 3-D as more than a marketing ploy; it points toward an original way of making a musical.
  23. The story has more holes than the bodies do, but the shocks are efficient, and Party of Five's Jennifer Love Hewitt knows how to scream with soul.
  24. Rashid's optimistic fairy tale is inventive, in a show-queen way.
  25. Always the smooth showman, Spurlock avoids answering his own question: Is he selling out or buying in?
  26. Curse of the Golden Flower is a watchable soap opera, but its marching-band martial-arts scenes are little more than weakly staged retreads of the ones in Zhang's "Hero."
  27. The script lacks the wit of "Wallace & Gromit."
  28. As long as it stays in the air, Red Tails is a compelling sky-war pageant of a movie. On the ground, it's a far shakier experience: dutiful and prosaic, with thinly scripted episodes that don't add up to a satisfying story.
  29. I was pleasantly surprised to discover that the new cartoon of Curious George, featuring the voice of Will Ferrell as the Man in the Yellow Hat, doesn't veer all that far from the soothing tone of the books.

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