Entertainment Weekly's Scores

For 5,387 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 Broken Flowers
Lowest review score: 0 Annabelle
Score distribution:
5,387 movie reviews
  1. 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.
  2. 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.
  3. Zookeeper (I can't believe I'm even writing this) is a dumbed-down "Paul Blart."
  4. Much of Big Daddy looks like it was made up on the spot, but Sandler, with his bad-dog eagerness to get caught in the act of misbehaving, pulls you through it.
  5. A talent-stuffed assemblage of barbs and giddy musical numbers that shouldn't be written off as a feature flop -- but savored instead for the cult-ready collection of late-night satirical skits and misses it is.
  6. The romantic troubles of three Irish-Catholic brothers on Long Island don't amount to a hill of beans in this crazy world.
  7. Efficient, uninspired sequel.
  8. For the Western viewer, the cultural divide acts as a saccharine filter, and Kamikaze, a cult hit in Japan, becomes a mesmerizing lesson in otherness.
  9. For Yank color in her soap-bubbly movie, director Daniele Thompson has her pal Sydney Pollack appear as...a famous director.
  10. Berlin is far from the lost masterpiece the movie wants it to be.
  11. Eden lacks the technique to give its stifled domestic-erotic feelings their full power.
  12. The movie is ''Rosemary's Suburban Baby'' without a witch in sight.
  13. A gilded entry in the cinema du quirk. It's a movie that invites you, all too often, to feel superior to the people on screen.
  14. Leap Year could have used more pizzazz.
    • 70 Metascore
    • 67 Critic Score
    The tone of this tale is more easy-listening than acid rock.
  15. A truly titillating and truly convoluted tale of l'amour fou. Perhaps the American remake could be titled ''Hot Fudge Ripple Sky.''
  16. There are mountain tunes as powerful as moonshine to be enjoyed in Songcatcher -- but there's also a mighty mushy heap of corn pone to be swallowed.
  17. Thompson, who also wrote the script, has skittery, baffling fun enjoining her plummy guest actors (including Ralph Fiennes, Rhys Ifans, and Maggie Smith) to play broad Brit types.
  18. As a lissome art restorer, Asia Argento (the director's daughter) comes off as the sanest human on screen, which is pretty scary.
  19. The new movie is an opulent-bordering-on-hysterical mass of chitchat and chase scenes.
  20. It's a romantic noir chase thriller made in the violently schlocky spirit of Sam Peckinpah's "The Getaway."
  21. Gracious, if meandering.
  22. In his curdled-butterball way, Jiminy Glick may be the most acidic showbiz send-up since Andy Kaufman's Tony Clifton. This movie, though it has its moments, is a pedestal he didn't need.
  23. There’s nothing remotely original about the premise, and jokes about prostates feel more pandering than funny, but the leads make this dumb romantic caper watchable.
  24. The premise, the structure, and the men-at-twilight conversation in Patrice Leconte's ingratiating drama feel cloyingly predetermined at times, but the sight of Hallyday and Rochefort luxuriating in their contrasting manly personas is a kick.
  25. There's nothing not to like about the movie, a teensy, hand-crocheted trifle, fitted with embroidered pockets of guest stardom, including Mia Farrow as the nice local lady who wants to see what "Ghostbusters" is all about and "Ghostbusters'" own Sigourney Weaver as a movie-studio corporate meanie, ha-ha.
  26. The best reason to see Melinda and Melinda is Radha Mitchell, who has her grabbiest role (or two of them) since she broke through with "High Art."
  27. The movie is disappointingly flat-footed about both rock and journalism, and its shaggy plot sheds logic as it goes. Still, the actors are excellent; they’re triple crème slathered on an odd little undercooked biscuit of a script.
  28. The depth of the story and the characters is awfully slight to bear the weight of such fancy editing. But the performances are crisp and in focus, with Cox in particular showing a photogenic feel for expressing grief.
  29. Del Toro lays on the operatic head-trip gore, but his heavy-handed embrace of the ''Blade'' mythology allows Wesley Snipes to give more of a performance than he did in the first film.

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