Entertainment Weekly's Scores

For 5,321 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:
5,321 movie reviews
  1. The Nativity Story is a film of tame picture-book sincerity, but that's not the same thing as devotion. The movie is too tepid to feel, or see, the light.
  2. The movie, a piece of luridly baroque metaphysical trash, is about a Vietnam veteran who keeps getting jolted by demonic visions.
    • 21 Metascore
    • 42 Critic Score
    A movie based on a doll line, is an M&M-colored high school fantasia for aspirational 10- and 12-year-old girls who'll be shocked (or, hopefully, delighted) when they get to ninth grade and find out life isn't so super-Bratz-fabulous.
  3. Achieves the near-impossible: It turns the Marquis de Sade into a dullard.
  4. For a light comedy, The Nanny Diaries turns out to have an off-putting theme. It glorifies the romance of slumming.
  5. So riddled with cultural stereotypes, woe-is-me neurotic mopiness, and glib therapeutic compassion that by the end all it leaves you with is a waxy buildup of falseness.
  6. Any grown men and women who pay to see the movie face a harrowing ordeal.
    • 38 Metascore
    • 42 Critic Score
    In several instances, you can sense that director Tim Story simply rolled the proverbial ball out to Hart on the court and called the play: Make it funny. Hart scores occasionally, but Think Like a Man Too loses by double digits.
    • 47 Metascore
    • 42 Critic Score
    Jackson is the best thing here.
  7. It's not just that Tony Soprano is richer, darker, cooler, and scarier. The dude gets more laughs.
  8. Cronenberg directs this doomed romance in the same flat, claustrophobic, night-of-the-zombies style he employed in ''Naked Lunch''; as a dramatist, he's still stuck in Interzone.
  9. Populated by ersatz versions of stars who, in this case, are fairly vanilla to begin with.
  10. A remake of the 1986 suspense ''classic,'' is as processed and hoot-worthy as the original.
  11. The ultimate crime of this paranoid enemy-of-the-state pulp, directed with more style than brains by Antoine Fuqua (Training Day), is how dull it is.
  12. The dialogue aims young and low, and sounds translated from comic-book Esperanto.
  13. The award for the most annoying character to appear in a movie so far this year turns out to be a tie: It goes to both of the oh-so-swankly tormented romantic mischief makers of Love Me if You Dare.
  14. Even those who don't know a foul tip from a chicken wing will be able to spot the desperate plays.
  15. It's fun to watch at first. All that twirling and sliding is a nice change of pace from the usual seat-shaking pyrotechnics.
  16. 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.
  17. 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.
  18. In theory, Zoolander is ''Pret-à-Porter'' on laughing gas. In practice, however, the movie is an ill-fitting suit of gags, too long in the crotch even at 90 minutes.
  19. The result is a slack do-over fantasy in which Zac Efron, as a basketball star, looks baffled as to why he hasn't been asked to sing and dance.
  20. A charmless rom-com.
  21. Upside Down is a very fancy piece of junk.
    • 48 Metascore
    • 42 Reviewed by
      Ty Burr
    Dian Bachar, as Joe's pint-size sidekick, sounds the only note of sly wit; the unidentified stripper playing T-Rex delivers the only real shock value. The movie could have used a lot more of both.
  22. So shameless is The Kingdom, ignoring consequence and treating its audience like cash-dispensing machines with buttons to be pushed rather than thinking individuals willing to consider the reality of America's entanglement with the Middle East.
  23. A lurid hodgepodge of the ''subversive'' and the secondhand, the movie lacks the primal pop pleasures of Lynch's best work.
    • 30 Metascore
    • 42 Critic Score
    Crossover skimps on court-level pyrotechnics (we get a game in the beginning and, of course, a big game at the end, and that's about it) in favor of dry urban melodrama.
  24. When not unnecessarily bland, synthetic, and indistinguishable from undistinguished teen TV, A Cinderella Story is unnecessarily coarse and dumbed down, with every character except Sam and Austin subject to perfunctory ridicule.
  25. The movie is in love with its own story loops and fancy, pop-dream cinematography from Almodóvar associate Affonso Beato, which is fine; it's also in love with its own indie-culture cleverness, which isn't.

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