Entertainment Weekly's Scores

For 5,301 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 Kurt Cobain: Montage of Heck
Lowest review score: 0 Even Cowgirls Get the Blues
Score distribution:
5,301 movie reviews
  1. Thumpingly silly yet self-serious period-piece what-if.
    • 25 Metascore
    • 42 Critic Score
    (Madonna is) clearly full of good intentions; too bad she's lacking discernible emotions.
  2. Traffics in the coyly blasphemous, aren't-we-dysfunctional family-disaster chic that has become the single most annoying trend in independent filmmaking.
  3. I can't imagine what Dali or Buñuel would have made of such bourgeois sentimentality.
    • 33 Metascore
    • 42 Critic Score
    Don't hate yourself for chuckling at this sweetly anachronistic update of the 1970 Neil Simon comedy.
    • 47 Metascore
    • 42 Critic Score
    It falls apart with a slapdash final act that doesn't work as drama or action and only serves to undermine Jonah's heroics.
  4. In this American remake of the spooky, more-atmospheric-than-coherent 2005 J-horror thriller, the ghosts blink and crackle into existence with an electromagnetic sputter, but really, they're not so different from the gauzy, see-through spirits of yesteryear.
  5. The Monuments Men sounds like a what's-not-to-like? movie, but it turns out to be a bizarre failure.
  6. Les Liaisons Dangereuses is such an elaborate and satisfying structure of deceit and salaciousness that every attempt I have seen to adapt it on film -- "Dangerous Liaisons," "Cruel Intentions," even the trashy 1959 Roger Vadim version -- has resulted in an entertainment of agreeable nasty elegance. Until now.
  7. Extraordinarily faithful to the spirit of that creaky, derivative, fly-infested, don't-go-in-the-attic boofest.
  8. Quite honestly, you could nap for an hour and not miss a thing, but when the crew finally makes it to the glowing piles of booty at Treasure Planet's core, the film unleashes some pleasing visual fireworks. That's where it should have started, not ended.
  9. This wan, formulaic teen movie from ''Metro'' director Thomas Carter is afraid to pump up the volume on its own interracial, hip hop Romeo and Juliet story, lest it challenge even one sedated viewer or disturb the peace.
  10. Taylor does that thing she does when she whispers as if she has just discovered speech; Pearce enjoys himself doing his own singing, and embracing grunge.
  11. Just when you thought it was safe to go to the movies without sitting through another imitation of early Quentin Tarantino, along comes Suicide Kings.
  12. In a last-minute tweak, the production has also been meaninglessly 3-D-ified - never mind that there's nothing whatsoever 3-D-ish going on. Maybe those clumsy 3-D glasses are meant to let moviegoers mimic the superhero mask-wearing experience?
  13. Little more than a plodding celebration of global television trumping everything in its midst.
    • 52 Metascore
    • 42 Critic Score
    Cute, but there's no movie here -- just a transcultural replication.
  14. Buscemi is stymied here by the inertia of his material.
  15. Director Gaspar Noé proved a shock poet in "Irreversible" (2003). In Enter the Void, he's a shockingly tedious show-off.
    • 56 Metascore
    • 42 Critic Score
    Linney is too sensitive and capable an actress to play a stock villain like this. That everyone in the movie dislikes her makes you dislike everyone in the movie.
  16. Presents undercover law enforcement less as a profession than as an accessory, an excuse to pout and glower chicly, to stand around in nightclubs acting like a sullen version of the Last American Rebel.
  17. The dumbing down of low-IQ sentimentality.
  18. The role of a poised daddy's girl is a dull one for Holmes, who looks pained, in a nonspecific way, throughout her capers; the movie itself, with a screenplay by Jessica Bendinger and Kate Kondell, is a dull one for director Forest Whitaker.
  19. This is a movie of fake conflict, fake heart, even fake doggy love.
  20. What slays them in the second balcony, though, flattens on the screen.
    • 30 Metascore
    • 42 Critic Score
    The result is a Halloween movie in horror limbo.
    • 66 Metascore
    • 42 Critic Score
    Another pulpy Creepshow movie would be more welcome than a second installment of this stiff stuff.
  21. A drippy, uninvolving movie adaptation.
  22. The sides to consider in Taking Sides are all but obscured by cinematic pomposity at best, Holocaust porn at worst.
  23. A cumbersome dud, grows draggier with each new revelation.

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