Entertainment Weekly's Scores

For 5,871 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 3.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 All Is Lost
Lowest review score: 0 Corky Romano
Score distribution:
5871 movie reviews
  1. Transpecos is a lean-and-mean atmospheric thriller that starts off tautly but ultimately slackens as it goes along.
  2. The chintzy characters, hair-raising deaths, and one spectacular rocket-launcher joke aren't enough to give "Hostel" a run for its blood.
  3. But where would these lads be without the pop-culture-happy language of Quentin Tarantino to fuel their bull sessions? Nowhere, that's where.
  4. The movie, for all its sincerity, becomes clinical and repetitious, though its unsparing vision of the fragility of identity can give you a shudder.
  5. On the other hand, this proud graduate of the School of Cleary Classics wishes that, like the young heroine herself, Ramona and Beezus dared more often to color outside the lines.
  6. It understands, in a way that speaks forcefully enough about the mechanisms of poverty to transcend the rather simplistic filmmaking.
  7. Scott, working from a script by William Monahan, is so busy balancing our sympathies, making sure no one gets offended, that he has made a pageant of war that would have gotten a thumbs-up from Eleanor Roosevelt.
  8. Ransom has some clever and exciting moments, but in scene after scene it teases you with gamesmanship only to pummel you with contrivance.
  9. Never shocks or even offends by ascribing fully adult cruelties and erotic activities to obnoxious kids; such harshness wouldn't flatter a cast this moussed and magazine-layout-ready.
  10. Teetering on an abyss of meta-wackiness, The Last Shot -- a movie about movie fakery, based on a true story about a fake movie -- succeeds modestly where, by all rights, it should fail miserably.
  11. Even by Soderbergh's standards of serious playfulness/playful seriousness, Full Frontal is a tricky novelty item: The director himself has variously described it as an ''experiment,'' an ''exercise,'' and a ''sketch.''
  12. The trouble with all this is that it's thin movie tinsel that, while lovingly polished, never becomes more than tinsel. The Good Thief has a glib stylishness (the rapid freeze-frames at the end of scenes signify...nothing), yet it lacks a blast of reality to balance its fable.
    • 36 Metascore
    • 67 Critic Score
    War
    There are few cinematic crimes more heinous than making a boring action movie. Sadly, that's what the first hour of Triads-versus-Yakuza thriller War is.
  13. It's a testament to Neeson's startling charisma as an action star that for all its storytelling flaws, large swaths of Taken 3 remain wildly entertaining.
    • 70 Metascore
    • 67 Reviewed by
      Ty Burr
    Works more in your head than on the screen.
  14. While the plot occasionally feels like "Free Willy" without the drama, it's a cute story if you don't mind temporarily trading in your cynicism for a bag of popcorn.
  15. It’s a shame the rest of the soap-opera story doesn’t measure up to its stunts.
  16. Sherlock Holmes is an odd amalgam, a top-heavy light entertainment that keeps throwing things at you and doesn't seem too concerned with whether they stick.
  17. As is so often the case since his "Monty Python" days, Gilliam is best at visual games and weakest at storytelling.
  18. Marigold Hotel achieves what it sets out to do: Sell something safe and sweet, in a vivid foreign setting, to an underserved share of the moviegoing market.
  19. Sparkle is never more than an overheated mediocrity. The one thing it isn't, however, is dull.
  20. Were women put on earth to be warriors? Demi Moore certainly was. The role of Jordan fits her as snugly as a new layer of muscle.
  21. Yet as Everything moves from nation to nation, the cohesion and potency of its message dissipates.
    • 60 Metascore
    • 67 Critic Score
    The movie has a sharp point -- Americans shop too much -- but it's a problem that its bellowing hero, always accompanied by his red-robed Church of Stop Shopping Gospel Choir, is so off-putting; a crazy guy who wouldn't sound so crazy if he just didn't act so crazy.
  22. A chintzy melodrama gussied up as hair-trigger combat ''reality,'' but there's no denying the vividness with which the French cowriter-director Elie Chouraqui has visualized the chaos of Croatia.
  23. While mean girl Avery Keller (Hunter King) gets a nuanced and surprisingly redemptive arc, the target of her bullying, Jessica (Lexi Ainsworth), mostly goes ignored.
  24. Soft sexual and racial jabs replace the more daring political commentary of the original, a crude classic from the Roger Corman factory.
  25. There's enough foreboding in America right now to make sitting through a movie such as The Road seem like one more heavy burden that, frankly, no one needs.
  26. Stalingrad is a 3-D epic that's one-dimensional.
  27. After a while, the director of the more perceptive "Frances Ha" and "The Squid and the Whale" tips his hand, painting the aging Xers as guardians of integrity and the millennials as opportunists. It’s a cheap shot, and it feels like he’s telling the kids to get off his lawn. It’s not Stiller’s character who’s the curmudgeon, it’s Baumbach.

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