Entertainment Weekly's Scores

For 5,268 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 The Hunting Ground
Lowest review score: 0 Even Cowgirls Get the Blues
Score distribution:
5,268 movie reviews
  1. The best thing in the movie is Arterton's sultry, claw-baring turn, but mostly it's a rudderless riff on "Let the Right One In."
  2. This unexceptional 1970s coming-of-age story is neither outrageous, new, nor comedic.
  3. Cotton candy story with an acrid aftertaste.
  4. RV
    As Williams ricochets between playing submissive soft-drink executive tethered to the whims of a hysterical boss and pathetic dad at the wheel, trying to cajole his family into vacation satisfaction, we can be excused for getting carsick.
  5. The image of this kitchen-magician dream robot comes at us in little jolts and spasms that have the zappy, self-contained rhythm of a fast-food tie-in commercial.
  6. At least they do look sharp in those suits.
  7. Because the talk never gets beyond statement making, and because the characters emit none of Chekhov's radiantly lived-in soulfulness, there's plenty of time to appreciate the sun-kissed landscape.
  8. Be prepared to collapse into a hoot and a howl of hilarity at all the wrong moments.
  9. Be prepared to swallow a lot of empty-calorie jokes in which blacks and Latinos insult and misunderstand one another in a spirit of vigorous buffoonery.
  10. Adore has the distinction of featuring some of the most laughable dialogue in any movie this year.
  11. 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.
  12. It's like a series of cliches exploding in your face.
  13. LUV
    The rapper and actor Common has become a highly skilled screen star, but this touchy-feely dud does him wrong.
    • 30 Metascore
    • 42 Critic Score
    With its sweet stupidity and shoddy production values, Waiting... knowingly evokes bad '80s R-rated comedies, but the differences are telling.
    • 49 Metascore
    • 42 Critic Score
    Liu Ye is too inexpressive for his role's demands, and the movie doesn't build to his downfall: It just zaps itself there.
  14. An overly picaresque first feature written and directed by David Duchovny, who also co-stars.
  15. Clyde is meant to be nuts, but too often it's Law Abiding Citizen that checks rationality at the door.
  16. The central question of the movie becomes: Can George triumph over his inability to stop hot women from throwing themselves at him?
    • 40 Metascore
    • 42 Critic Score
    A leaden piece of whimsy that looks for profound life lessons among a group of karaoke bar aficionados.
  17. Comedy has changed. Jack can only give his son-in-law the stink eye so many times before the whole "I'm watching you" pantomime gets stale.
  18. The British director Ken Loach can be a master of working-class realism, but not in this cranky, rudderless shambles.
  19. Really, who needs a bad guy who's this guilty about being bad?
  20. The dialogue is chintzy and rhythmless.
  21. A comic-book superhero has seldom squandered so much screen time being conflicted about his heritage and destiny -- and I don't mean conflicted in a sexy, Wolverine-y, ''X-Men'' way, either; a big-budget comic-book adaptation has rarely felt so humorless and intellectually defensive about its own pulpy roots.
  22. Stealth, a dregs-of-summer knockoff, is too ponderous and inept to serve a comparable function now, yet the film's lack of thrust may be related to an absence of conviction about its own war-is-a-videogame clich├ęs.
  23. As an overwrought, overacted drama, Kill the Poor is negligible.
  24. 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.
  25. Any tension created during its key moments completely evaporates once the lights come back on. The Woman may be back for another fright, but Angel of Death doesn't haunt like it should.
  26. Along comes Two Can Play That Game to demonstrate that antifeminist silliness is color-blind.
    • 47 Metascore
    • 42 Reviewed by
      Ty Burr
    The only entertainment value is in imagining Turner's apoplexy when he watched Spader having sex with Rosanna Arquette's leg wound.

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