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 Ponyo
Lowest review score: 0 Bigger Than the Sky
Score distribution:
5,466 movie reviews
  1. Here the fascination is Hurt, so deft at steering his character away from booby-trap clichés that he guides his young costars safely out of sap's way and brightens an otherwise very yellowed tale.
  2. It's usually a good idea to avoid anything billed as ''a fable,'' but The Legend of 1900 offers almost enough merits to warrant an exception
  3. The movie keeps you occupied, but in a processed, unexciting way.
  4. It's hard to buy this relationship even for a moment. Adam is sweet, meticulous, and, at times, sort of clever, but it's also a not-quite-surprising-enough heartwarming trifle.
  5. The Crossing Guard is a work of talent and, on occasion, raw passion, but it's also a willed exercise in purgative alienation (imagine "Death Wish" remade by Michelangelo Antonioni).
  6. Latifah coasts on grit and verve, and Holmes has a goggle-eyed sweetness, but it's Keaton who rules.
  7. Partly a straightforward surf movie with impressive wave-catching footage. However, other sections track the legal troubles of Jai Abberton, a Bra Boy who was tried and acquitted of murder. This makes for an often fascinating but awkward mix.
  8. A fable of money as the root of jealousy, discord, violence, but the film's slippery fascination as sociological exposé is the flip side of its thinness as drama.
  9. Wallace, unfortunately, writes lazy, anachronistic dialogue, and the picture is abysmally shot (by Peter Suschitzky), with a prosaic, low-budget look that never allows you to experience the enraptured majesty of a fairy-tale historical setting.
    • 51 Metascore
    • 67 Critic Score
    If British writer-director Jez Butterworth had let his sophomore picture get as dirty as Kidman's game recklessness invited -- she started this before ''Moulin Rouge'' and ''The Others'' -- he would have served up a tasty piece of cake.
  10. Kids may be appropriately terrified, but to this overgrown Potter fan, Voldemort, the Darth Vader of the black arts, was a heck of a lot scarier when you couldn't see him.
  11. Filmmaker Reed Cowan (himself gay and raised Mormon) documents the church's considerable financial influence on Prop 8's passage. Then he expands his sad and furious homegrown film to record the misery of gay Mormons sometimes driven to suicide over being rejected by their church and families.
  12. Displays a promise it doesn't, in the end, live up to. See it for Swinton's embodiment of unadulterated maternal will.
  13. The film’s nihilism serves as a metaphor for the merciless death pit of Mexico’s drug war, but not much else.
  14. Poorly engineered: lurchingly paced, the dramatic conflicts duct taped together.
  15. Evokes the intimacies of teenage girls with unusual delicacy, and Perabo's performance is a geyser of emotion.
  16. A thriller made from a completist's checklist rather than with a cultist's passion.
  17. There aren’t enough laughs here to goose it past formulaic. It’s harmless and mild and likable, but it’s also a toothless comedy that should have had some bite.
  18. ATL
    The more rink time, the better: As directed by hip-hop music-video king Chris Robinson from a story by "Antwone Fisher's" Antwone Fisher, the skate scenes are a blast.
  19. A silly, amusing trifle.
    • 48 Metascore
    • 67 Critic Score
    As pleasantly plastic as its retro-chic sets.
  20. 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.
  21. It's an energetic stunt of a movie, and it wants to make us sweat like it's 1974.
  22. The movie flaunts its comedy roots like a messy bleach job.
  23. A strange, black-and-blue therapeutic drama equally mottled with likable good intentions and agitating clumsiness.
  24. In the heaving cross-century swirl of the climax, ''Weight'' makes its point: Jealousy is timeless; Hurley is not.
  25. 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.
  26. 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.
  27. A triumph of performance, production, and adaptation over the empty-calorie dither of its source material.
  28. 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.

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