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. Neeson and Brosnan are supremely well-matched foils, though I do wish that the filmmaker, David Von Ancken, had lent his sparsely mythic tale just a twinge of something...new.
  2. Lane skillfully sells the tech-heavy script. But after a much-too-early reveal of the murderer's identity, the ''low battery'' signal starts to flash on this film by thriller specialist Gregory Hoblit, director of last year's far superior "Fracture."
    • 37 Metascore
    • 67 Critic Score
    So can Freddy beat up Jason, or what? Let's just say that neither one would have stood a chance against Abbott and Costello.
  3. Affleck the director shows excellent instincts, not least of which is letting his younger brother, Casey, hold the center as a young guy not as smaht as he thinks he is.
    • 58 Metascore
    • 67 Critic Score
    Has Dennis Quaid really never played a college football coach before? With his handsome, craggy face and likable intensity, he was born for the job, and he's the main attraction in The Express.
  4. The movie is never dull, though, and Cage acts every moment as if he means it. As the cult's leader, Guy Pearce, looking deeply creepy with a shaved head, has a cruel playfulness.
  5. You wish that Malena's inner life had been given as much accent as her outer charms.
  6. The director-cowriter, Brian Dannelly, has great fun tweaking the way American Christianity has been born again as a commodified, suburbanized, pop-saturated belief system.
  7. Who doesn't have a sweet tooth for intrigue on a train?
  8. An average kid-empowerment fantasy with slightly above-average brains.
  9. An epic aestheticization of World War II, a movie at once bold and baffling, immediate and abstract.
  10. While there are some scares along the way, Stewart foolishly gives away the whole kit and caboodle plot-wise with an opening quotation from Arthur C. Clarke.
  11. Sarcastic quips and cynical attitudes abound, maybe as a way for the movie's makers to telegraph that they know this is all just so much kid stuff. But if the characters can't muster genuine awe for their adventure, it's a tall order to ask us to do it for them.
  12. The movie is creepy, but it has no texture or depth. It's like "The Omen" directed by Miranda July.
  13. In the end, the movie says that the President's private life matters, all right -- that Shepherd should get the girl and reestablish his leadership by giving in to the noble liberal he always was inside. Even for a modern Capra fable, that's a bit much to swallow.
  14. Dense, meandering, ambitious yet jarringly pulpy, this tale of big-city corruption in small-town America has competence without mood or power -- a design but not a vision.
  15. Klown, a comedy from Denmark about two men on a canoe trip who descend into all sorts of desperate debauchery, demonstrates how the semi-improv, jitter-cam mode of filmmaking has gone from being a style to a tic - a way to disguise how unreal a movie can be.
  16. I love the princess squad.
  17. The yarn is too irresistible: We're fed plenty of sugar in this authorized fairy tale, but are left hungry for beef.
  18. This morphing of "The Bad News Bears" and a "Three Stooges" episode parades its dumbness with such zip that it almost passes for clever.
  19. Grodin always seems like a real guy, whereas Stiller, even working it, is just the designated loser-clown of the megaplex era. He's too harmless to break any hearts.
  20. An affectionate puff profile.
  21. For 20 years, Megumi's family doesn't know where she is; when they find out, the frustrations and uncertainties only mount. But as thickets of history and culture are (too) neatly avoided, the viewer is also left in the dark.
  22. In aiming for a new kind of lit-drama cool, Jane Campion freezes the warmth right out of Henry James' expansive heart.
  23. After a while, you truly start to see the formula gears churning, but given that, it helps to have an actress like Mary Steenburgen, who at 60 still possesses an amazing glow, as well as a snappier comic timing than ever.
  24. Struck by Lightning sticks to generic character sketches of high school student types - the jock, the goth, the cheerleader, etc. - and gives Carson the best lines. In between, some charming, buzzy talents pitch in on this short little lark.
  25. The affectionate, bemused, structurally unkempt portrait is at its best capturing Merritt's close collaboration with his longtime friend and bandmate Claudia Gonson.
  26. Predictable, corny, and mild.
  27. Shouldering a laconic-good-guy, neo- Gary Cooper role, Robbins never quite makes emotional contact with the audience.
  28. The result is a musical that substitutes irony for pop passion, misanthropic disjointedness for lyrical flow.

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