Entertainment Weekly's Scores

For 5,385 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 Waltz with Bashir
Lowest review score: 0 Light It Up
Score distribution:
5,385 movie reviews
  1. French art thriller 13 Tzameti has a literal hair-trigger premise, yet it's so lacking in human dimensions that it creates virtually no suspense.
  2. This remains the one and only fusion of ''Deliverance'' and ''Hansel and Gretel'' that I ever hope to see.
  3. But overall, this lazy, sweet trifle seems to express the banality of well-being.
  4. If any character steals Bill & Ted's Bogus Journey, it's the Grim Reaper, who, as played by William Sadler, keeps smirking with pleasure at the chance to loosen up.
  5. There's one moment that achieves the camp shiver of the original, when Damien's nanny hangs herself at his birthday party (''Damien, it's all for you!'').
  6. Goofy, pompous, annoyingly boomer-myopic Fab Four musical.
  7. Jordan lets slip virtually every rudiment of drama. He never deigns to develop his characters, he coats the movie in a wet blanket of whimsy, and he lets pop songs do his work for him more lavishly than Cameron Crowe did in "Elizabethtown."
  8. It's hardly much of a thrill to see The One recycle, on a lower budget, the slo-mo bullet dodges from "The Matrix," along with unspectacular variations on several other of that film's time-bending demolition-ballet effects.
    • 64 Metascore
    • 42 Reviewed by
      Ty Burr
    The novel is a sharp, Dickensian comedy; the film is just plain dull.
  9. An exhausted epic, one that Stone has directed with an almost startling lack of personality or vision.
  10. What might have been a rote horror exercise becomes instead a twitchy, mannered, often amusing rote horror exercise.
  11. A characteristically engorged and sloppy coming-of-age movie from the filmmaker (''Harvard '66'') who, in his body of work, indulges his fantasies as fetishistically as other men finger their cigars.
  12. Raging ego aside, the penny-ante hucksterism of his I'm-going-on-dates-to-get-famous-making-a-movie-about-dates approach is too cloying and opportunistic to bear.
  13. If you're looking for comic insights beyond the well-documented ass differential between whites and blacks, well, golly, you ought to try another carrier.
  14. An afterthought of a plot ships the family from Kansas to the O.C., offering SoCal set pieces -- like a doggie surfing contest -- to spackle the few gaps between big-dog-small-world jokes.
  15. Seems populated yet uninhabited; the only real star is the gloom.
  16. An only-in-the-movies mother hustles pool to raise the money to abduct the son she's been forbidden to see since her divorce.
  17. I'm happy to report, though, that even a dud like Spy Hard can't completely douse the stumbling Zen charm of Leslie Nielsen, whose genius is that he never quite sheds the illusion that he isn't in on the joke.
  18. A fairly harmless fertility rite with a skewed if not downright ugly view of women.
  19. Too chicly depressive -- and, for the most part, too dull -- to bear.
  20. Enjoyable only if you're under the age of 7 -- or the influence of psychedelic drugs.
  21. The ultimate sad realization is not that Dumb & Dumber To doesn't match the original's good-time quotient, but that it might not even be as good as—yikes — "Dumb and Dumberer: When Harry Met Lloyd."
    • 53 Metascore
    • 42 Critic Score
    Aims primarily for the kiddies, racing from one frenetic action sequence to another like some haywire Walter Lantz cartoon.
  22. At bottom, there's just too much spy in young Cody, and too little kid. The writers might've taken (another) page from the ''Spy Kids'' playbook and infused the action with youth relevance.
  23. 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.
  24. It's not the homosexuality that's dubious here, it's the chicken.
    • 49 Metascore
    • 42 Critic Score
    Looking back, 1993 was a golden age for thriller cinema. That was the year Hollywood hatched both "In the Line of Fire" and "The Fugitive," the two obvious and way superior antecedents for the very humdrum B-movie mash-up The Sentinel.
  25. Can these banal relationships between undifferentiated lovelies be saved?
  26. Her setups here are so witless and pedestrian that there's no imagination to the crude slapstick punchlines; we're just watching a bland jester pantomime sensory overload.
  27. Petroni takes the poem at face value, turning diaphanous literary imagery opaque and literal.

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