Entertainment Weekly's Scores

For 5,990 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 3.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Lebanon
Lowest review score: 0 The Host
Score distribution:
5990 movie reviews
  1. She's no Mary Poppins: Maggie Smith is more like a cheery Angel of Death in the light black comedy Keeping Mum, one of those dutifully daft British diddles (complete with Rowan Atkinson as a vicar) that, except for the blunt sex talk, might have been constructed decades ago.
  2. There are limits to how much comic irony can be wrung out of the sight of two grown men acting like complete cretins.
  3. An eminently watchable B-movie nightmare.
  4. Bryan Bertino, stages The Strangers' early scenes with spooky panache...But then comes the blood, the shrieking midnight chase scenes, the anything-goes over-the-top-ness. In other words, everything that we liked the movie for not being.
  5. Features a supernatural twist that is merely okay, but the film's mood of fractured anxiety and longing made me eager to see what the director, Christoffer Boe, does next.
  6. Frost is a likable bloke with a deft physical grace to match his rat-a-tat one-liners. But all the sequins and silk shirts in the world can’t disguise the film’s too-familiar formula.
  7. It's an okay brat movie.
  8. This is high-quality work from a professional (Gibson) who, news reports have suggested, has recently sunk to terrible lows in his nonprofessional life.
  9. Make no mistake, there will be a sequel. Clary may not wind up having the same pop-culture impact as Bella and Katniss, but like it or not, this won't be the last time you hear from her.
  10. If Lottery Ticket had as much conviction as laughs, it could have hit the jackpot.
  11. DiCaprio, having a blast, makes Candie the equivalent of Waltz's Nazi in "Inglourious Basterds": a racist villain who mesmerizes us by elevating his ideology into a puckishly thought-out vision of the world. Yet Django isn't nearly the film that Inglourious was.
  12. It's an irony too significant to ignore that the movie, which proselytizes against penning up whales in order to make them do cute tricks for humans, spends much of its time making Willy do cute tricks for humans.
  13. Where the movie falters is in sustaining the tricky balance between pastoral life lessons and creepy suspense.
  14. This is one nowhere boy who commands your attention.
  15. As Zeus, Liam Neeson twinkles where Laurence Olivier kvetched, and Ralph Fiennes, as Zeus' dark brother Hades (who has egged on the revolt to challenge Zeus), has a slinky nastiness.
  16. There's a pomo twist to the whole overeager enterprise, in all its theoretical, film-school charm: Similar to 2010's "Machete," the movie was born from a fake 
 trailer commissioned by Grindhouse directors Quentin Tarantino and Robert Rodriguez.
  17. In Proof, Paltrow plays yet another young woman who is being gnawed at by termites of instability, only this time out, her performance, rather than startling, is merely competent: earnest and overly familiar.
  18. As he did in his striking 2005 first feature film, "Man Push Cart," about a Pakistani street vendor in New York, perceptive indie filmmaker Ramin Bahrani looks at what others overlook and finds drama in everyday details.
  19. More a sampling of previous crowd-pleasers...than a fashion statement all its own.
  20. East of Havana picks at these politico-philosophical threads rather than pulling them, and the sense of a larger movement is fleeting. There's a beat, but we never quite see who's dancing to it.
  21. Glum and preposterous -- an operatically stilted adolescent martyr fantasy -- and yet, as staged by Coppola, it's well worth seeing.
  22. Directed by the ingenious documentarian Errol Morris (The Thin Blue Line), A Brief History of Time held out the promise of being an audacious, brain-bending experience. Instead, it's plodding and disappointingly conventional.
  23. CQ
    Coppola, who has made clever music videos, including the one for Moby's ''Honey,'' clearly had a lot of fun detailing the mod cheesiness of this intergalactic period piece, though the satire would have been more ticklish if ''Austin Powers'' hadn't gotten there first.
  24. The disciplined performances play against schmaltz, and the casting is inspired.
  25. A number of scenes have been staged with satisfying kinetic flair, and Willis once again makes an appealing superhero. Yet without that great big booby-trapped skyscraper to hold the action together, the suspense dissipates.
  26. The old-pro twosome of Streisand and Hoffman make such sexy and inviting ethnics (as a certain kind of movie likes to think of a certain kind of Jewish character) that they blithely prevail over the been-there-done-that gags.
  27. Rumble in the Bronx never quite achieves the smack-you-around zest of Chan's Hong Kong pictures. Still, it's hard to dislike a movie with such a friendly sense of the preposterous.
  28. She may be follically blond, but as an actor of distinction who's all of 25, Reese Witherspoon reveals interesting dark roots even as she plays golden girls.
  29. The Guilt Trip is not about Rogen, bubbeleh. Streisand is her own once-in-a-lifetime trip, looking gawjuss with that divine voice and those killer fingernails, and the sight of the lady scarfing down four pounds of beef at a Texas steak joint is one a Streisand lover can now cross off her bucket list.
  30. Walker forged an out-of-time mystique that is vividly captured here.

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