Entertainment Weekly's Scores

For 5,222 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 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Police, Adjective
Lowest review score: 0 Valentine's Day
Score distribution:
5,222 movie reviews
  1. The lesson is that fun can't be planned, but the film is so airless (think iCarly as a videogame) that there isn't a truly playful moment in it.
  2. A drippy, uninvolving movie adaptation.
  3. The fourth installment of Robert Rodriguez's franchise that keeps adding dimensions even as it loses charm would have been better titled "Spy Kids: All the Time Puns in the World."
  4. Neither colorfully brutal nor especially fun. It's a plodding, derivative gothic potboiler: "The Shining" meets "Coraline," with a touch of "Gremlins" played (boringly) straight.
  5. This suburban gothic is a logy, convoluted mess.
  6. Thumpingly silly yet self-serious period-piece what-if.
  7. The more that secret comes out, the more incoherent (and ludicrous) the film gets.
  8. What we learn in this all-pain/no-pleasure episode is that marriage feels like a life sentence, weddings are miserable events, honeymoon sex is dangerous and leaves a bride covered in bruises, and pregnancy is a torment that leads to death in exchange for birth.
  9. Good news: The shrill CG rodents, who last infested theaters in 2009's Squeakquel, are stranded on a jungle island with little hope of survival. Bad news: They've brought us along.
  10. Trite lessons are learned. Plotlines play out in familiar arcs. A few blips of sex and drug use aim to make the movie feel more grown-up. Instead, they make it off-limits to the only age group likely to find any charm in its smug Britcom cutesiness.
  11. The movie is a folly, a desultory vanity project for its director and co-writer. But for those very reasons, W.E., by world-renowned personage and lesser-known filmmaker Madonna, is not without twisted interest.
  12. Overheated yet bizarrely opaque criminal character study from Belgium.
  13. As with his previous film "Fireflies in the Garden," writer-director Dennis Lee scratches the skin of family bonds until it bleeds. This time, he uses whimsy as a salve.
  14. 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.
  15. 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.
  16. Red Hook Summer has some fantastic gospel numbers, but as drama it's a casserole that never comes together.
  17. The result apes "The Bourne Identity" so slavishly yet so boringly it winds up with no identity at all.
  18. 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.
  19. Even those who don't know a foul tip from a chicken wing will be able to spot the desperate plays.
  20. A cloddish, harmlessly drecky comedy from the Sandler factory of crude mush.
  21. 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.
  22. 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.
  23. The central question of the movie becomes: Can George triumph over his inability to stop hot women from throwing themselves at him?
  24. LUV
    The rapper and actor Common has become a highly skilled screen star, but this touchy-feely dud does him wrong.
  25. 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.
  26. An intermittently fun, but overexcited and predictable mish-mash.
  27. 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.
  28. 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.
  29. Upside Down is a very fancy piece of junk.
  30. Unfortunately, it’s just a witchy mess.

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