Entertainment Weekly's Scores

For 5,385 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 The Dish
Lowest review score: 0 Bangkok Dangerous
Score distribution:
5,385 movie reviews
  1. The story is too patterned and too contrived.
  2. A traffic map of calls and responses, lessons and homework, wishes and fulfillment. All roads lead to acting-award nominations, but none lead to truth.
  3. This sunny ode to brotherhood, made on a tiny budget, goes a fair distance on good vibes.
  4. Clever and smooth, yet, like Angèle herself (or Nathalie Baye), the film is almost too placid for its own good.
  5. Antielitist, anti-hypocrisy, pro-feel-good entertainment.
    • 51 Metascore
    • 67 Critic Score
    Everyone's Hero re-creates Depression-era America with surprisingly agreeable anachronistic panache, but a sassy ball and bat don't cut it as compelling cartoon characters, and the not-so-human humans never quite do either (Babe Ruth looks like Shrek).
  6. A thriller that holds less interest - and less water - the more it reveals about what's actually going on.
  7. Moreau's few ripe scenes are choice, and she spices up the joint with her gravelly voice of je ne regrette rien.
  8. Bouncy animation and catchy songs keep the film from tasting too much like spinach.
  9. As long as Revanche focuses on the relationship between Tamara (Irina Potapenko), an indentured Ukrainian prostitute, and Alex (Johannes Krisch), the ex-con gofer and would-be tough guy who wants to help her escape, it's riveting.
  10. The best thing going for Selena is Selena herself, played with verve, heart, and a great deal of grace by the increasingly busy Jennifer Lopez (Money Train, Jack, Blood & Wine).
  11. The film's fragmentary structure, though, is suspect. It says that the soldiers find no real meaning in their combat actions, yet Gunner Palace presents the operations we're seeing in so little context, reducing them to a random hash of ''sensational'' moments, that Tucker at times appears to be exploiting the war to create a didactic canvas of manic military unease.
  12. Walking and Talking is saved from utter banality by a script dotted with occasional buoyant moments of tenderness and wit, as well as by the light touch of its attractive cast.
    • 52 Metascore
    • 67 Critic Score
    Hopelessly clichéd.
  13. Berg has made a powerful film and an important reminder of what really happens when we send men and women off to war. It's just too bad that subtlety isn't a stronger weapon in his arsenal.
  14. Even those who may agree with Cho's agenda are never allowed to forget that it is an agenda.
  15. Working with an explanatory script by Dean Georgaris, Reynolds is much more confident in scenes of realistic battle, or even muddy marketplace dailiness, than he is with scenes of desire.
  16. Like Orson Welles, Francis Ford Coppola has gone from being the filmmaker of his time to becoming a make-it-up-as-you-go-along indie free-shooter.
  17. Measured in anything other than biblical cubits, the sum of Babel's many parts turns out to be a picture that suggests Americans ought to stay home and treat their nannies better.
  18. 3
    German filmmaker Tom Tykwer (Run Lola Run) noodles around with form, composition, and sexuality in 3, a playfully pieced-together, beautifully shot, and secretly ridiculous drama about a triangular relationship among blasé Berliners.
  19. Payback is a thriller so mean and degraded it carries a low-down, vicious charge. Sadism is its only real subject, and its only real life as well.
  20. The filmmaker's got good taste -- and luck -- in casting.
  21. There are some genuinely clever moments of physical comedy, and the inevitable crudeness is offset by winning whimsy. Without has all the freshness of moldering Playboys stashed under a mattress, but it evokes what few boys-will-be-boys larks can: chumminess.
  22. Even as the director, Stephen Daldry, places his star front and center, he doesn't know how to highlight him.
  23. Much of what happens in The Paperboy is so luridly bizarre you can't quite believe what you're seeing.
  24. A polarizing load of quirkiness in Extremely Loud gunks up (at least for this hometown mourner; your results may vary) what is at heart a piercing story.
    • 35 Metascore
    • 67 Critic Score
    Pit a reptile the size of a school bus against an American TV-news crew in war-scarred Burundi, and you get "Hotel Rwanaconda," a horror movie interested in cheesy scares and drawing attention to the plight of poor Africans. (So no, Primeval is not the '"serial killer'" film promised by the ads.)
  25. Interstellar, his (Nolan) sci-fi spectaculorama helixed around a father-daughter love story, is a gamble like no other in his career. It's his longest film, his headiest, his most personal. And, in its square-peg-in-a-round-wormhole stab at being the weepy motion-picture event of the year, it's also his sappiest.
  26. As a movie, Trade is so-so, but as an exposé of how the new globalized industry of sex trafficking really works, it's a disquieting, eye-opening bulletin.
  27. While I was watching Madea's Big Happy Family, I couldn't deny that it PLAYS. Madea, as always, is a figure of towering low-down wit.

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