Entertainment Weekly's Scores

For 5,171 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: 65
Highest review score: 100 Nurse Betty
Lowest review score: 0 Light It Up
Score distribution:
5,171 movie reviews
  1. What's shocking this time is how tame Sacha Baron Cohen's newest wild man is, for all the kerfuffle the comedian can stir up on the ­promotional trail.
  2. If this amateur justice league spent as much time analyzing clues as they did analyzing their junk, in every slang variation available in the Urban Dictionary, the murder mystery in The Watch could have been solved on the first night of surveillance.
  3. Red Hook Summer has some fantastic gospel numbers, but as drama it's a casserole that never comes together.
  4. The result apes "The Bourne Identity" so slavishly yet so boringly it winds up with no identity at all.
  5. The longest stretch of logical plotting lasts about forty seconds, and the deep-rooted silliness makes it hard to take anything in the film seriously. But at least it has the decency never to ask us to.
  6. Even those who don't know a foul tip from a chicken wing will be able to spot the desperate plays.
  7. A cloddish, harmlessly drecky comedy from the Sandler factory of crude mush.
  8. PA4 develops the story ever so slightly (not enough to satisfy fans) and delivers a few good scares (not enough to satisfy newbies); mostly, it plays like a overlong prologue for the already-in-the-works PA5. Here's hoping this is just the tension-racking lull before the next big scream.
  9. It's tastelessness like this, served up as fair-game dish to a Downton Abbey-loving audience, that sours the flavor of this tittery production.
  10. The central question of the movie becomes: Can George triumph over his inability to stop hot women from throwing themselves at him?
  11. LUV
    The rapper and actor Common has become a highly skilled screen star, but this touchy-feely dud does him wrong.
  12. The movie is a morals-free procession of bang bang bang! and blood blood blood!, and men slamming each other with blunt objects and slicing each other with blades.
  13. An intermittently fun, but overexcited and predictable mish-mash.
  14. The movie wants to be Hitchcockian, but it's the flat-footed Hitchcock of "Marnie" that Park evokes. His filmmaking here is hermetic and lugubrious, with each physical movement meaninglessly heightened and every line hanging in the air with (empty) significance.
  15. The film tries to paint in shades of gray with vague criticisms of the war on drugs, but the absurdity of its he-man Everyman plot ends up turning its moral palette a muddy brown.
  16. Upside Down is a very fancy piece of junk.
  17. Unfortunately, it’s just a witchy mess.
  18. What's ultimately shocking about Kika is how empty mayhem can be made to look.
  19. Ready to Wear is messy and vaguely nasty -- a blur with attitude.
  20. Best to forget the movie version exists and keep your happy childhood memories intact.
  21. The things that once made Neil LaBute's movies seem like tossed grenades — the loutish protagonists, the sadism toward women — now come off as more dated than scandalous.
  22. The best thing in the movie is Arterton's sultry, claw-baring turn, but mostly it's a rudderless riff on "Let the Right One In."
  23. It's a solemnly preposterous piece of designer revenge pulp, with actors who stand around bathed in red and blue light like David Lynch mannequins in between scenes of torture and murder.
  24. Adore has the distinction of featuring some of the most laughable dialogue in any movie this year.
  25. Its lack of both originality and any real memorable moments feels shameless and lazy. Adding insult, the movie ends on a cliffhanger, guaranteeing that Insidious: Chapter 3 will soon be coming to a theater near you.
  26. The Monuments Men sounds like a what's-not-to-like? movie, but it turns out to be a bizarre failure.
  27. The movie never finds a way to blend the emotional and the rat-a-tat-tat into one seamless package the way that Besson did in his one and only good movie, The Professional (1994).
  28. It's fun to watch at first. All that twirling and sliding is a nice change of pace from the usual seat-shaking pyrotechnics.
  29. It's a shame that this glossy production doesn't seem to realize it's actually promoting an altogether different message: when moms dare to leave the house, everything goes wrong.
  30. The movie itself is convoluted and almost unbelievably lackluster.

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