Entertainment Weekly's Scores

For 6,291 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
Score distribution:
6291 movie reviews
  1. A dreamy adaptation of Natalie Babbitt's cherished 1975 children's novel.
  2. The thrust of the movie is that even for Jerry, the quintessential scientist of stand-up, comedy is very, very hard to do. By the end, you're closer to knowing why.
  3. Ritchie made a movie that never pretends to be more than a guilty pleasure of soft-core kitsch, and Madonna and Giannini (son of Giancarlo, costar of the original) achieve a lively S&M chemistry.
  4. Impressively unflappable and natural, 23-year-old Lohman -- whose best known credit is perhaps a role on Fox's short-lived ''Pasadena'' -- holds the whole plot together skillfully.
  5. Deeply rich and strange new romantic comedy.
  6. Excitement trumps incompetence as one colorful loser recruits another. Pretty soon, the screen is filled with hip actors playing clueless lowlifes, pretending they're in a Bizarro World production of ''Ocean's Eleven.''
  7. Further sad evidence that Tom Tykwer, director of the resonant and sense-spinning ''Run Lola Run,'' has turned out to be a one-trick pony -- a maker of softheaded metaphysical claptrap. It's enough to make you want to see him run again.
  8. The film satirizes, and celebrates, an idea pivotal to both Hollywood and love: that in a world of impostors, the pretender with the most conviction can become exactly what he pretends to be.
  9. Bouncy animation and catchy songs keep the film from tasting too much like spinach.
  10. It's a mad cycle of arrogance and despair, and Bloody Sunday etches it onto your nervous system.
  11. A thriller made from a completist's checklist rather than with a cultist's passion.
  12. A pompous and garbled parable about how terribly, terribly difficult it is to make it as a creative artist, and how important it is to maintain high standards of haberdashery.
  13. Chan needs a foil, and Hewitt, while perky, doesn't project nearly enough comedy weight; she's too slight and tailored for his style.
  14. At best, a half-finished puzzle, but Broomfield leaves you with questions that few investigators have even dared to ask.
  15. Unbearable were Witherspoon not such a genuinely attractive performer.
  16. In ''Ordinary People,'' at least one character -- Mary Tyler Moore's -- had to fall so that the others could survive. In Moonlight Mile, no one gets shut out of the hug cycle.
  17. Watching this film, one is left with the inescapable conclusion that Hitchens' obsession with Kissinger is, at bottom, a sophisticated flower child's desire to purge the world of the tooth and claw of human power. The movie isn't, finally, an argument. It's a long angry ''Boo!''
  18. The most frightening sight, though, is that of Theron and Bacon, good actors trapped in the muck of making a living.
  19. Really, the sole favor Dolman does the plucky Hawn is to light her rear end so that its continued gloriousness can be appreciated.
  20. It may be an accidental historical parallel that, at times, we seem to be watching a 19th-century version of ''The John Walker Lindh Story,'' but the fluke is only enhanced by the weird anonymity of Ledger's performance.
    • 63 Metascore
    • 91 Critic Score
    There's a word for an actress who can go from nervous to winsome to raunchy to romantic in a heartbeat and get you to adore her the whole time. The word is star.
  21. Half-baked Herzog, though it has twinkles of theatrical purity that remind you of when his vision was grand.
  22. Kaos was apparently aiming for a coolly stylized, straight-faced take on ''Spy vs. Spy.'' As Maxwell Smart used to say, ''Missed it by that much.''
  23. The result is weightless entertainment that's both camp and true, a warped adoration of star-quality actresses as amazing creatures who can project the lives of fictional characters as well as the essence of their own fabulous selves.
  24. A triumph of psychological depth and artistic brilliance offered as the magical adventures of one skinny little girl.
  25. Rigid, airless, and browbeatingly repetitive, Das Experiment is an overly didactic piece of thesis hectoring; it's like ''Lord of the Flies'' set in a Skinner box.
  26. A nifty, entwined, ultimately gripping adaptation of British crime writer Ruth Rendell's novel ''The Tree of Hands'' by French director Claude Miller.
  27. Gets weirder and meaner and darker and sadder as it progresses, which is amazing since it simultaneously remains funny and horrifying right up to the end.
  28. The mixed-up rhythms of the story rescue Barbershop from bland goodness.
  29. It doesn't help that most of the jokes (like a rip-off of ''There's Something About Mary'''s dog-in-the-crotch bit) are themselves stolen.

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