Entertainment Weekly's Scores

For 5,223 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 3.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Quiz Show
Lowest review score: 0 In the Cut
Score distribution:
5,223 movie reviews
  1. Unfortunately, it’s just a witchy mess.
  2. What's ultimately shocking about Kika is how empty mayhem can be made to look.
  3. Ready to Wear is messy and vaguely nasty -- a blur with attitude.
  4. Best to forget the movie version exists and keep your happy childhood memories intact.
  5. The things that once made Neil LaBute's movies seem like tossed grenades — the loutish protagonists, the sadism toward women — now come off as more dated than scandalous.
  6. 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."
  7. It's a solemnly preposterous piece of designer revenge pulp, with actors who stand around bathed in red and blue light like David Lynch mannequins in between scenes of torture and murder.
  8. Adore has the distinction of featuring some of the most laughable dialogue in any movie this year.
  9. Its lack of both originality and any real memorable moments feels shameless and lazy. Adding insult, the movie ends on a cliffhanger, guaranteeing that Insidious: Chapter 3 will soon be coming to a theater near you.
  10. The Monuments Men sounds like a what's-not-to-like? movie, but it turns out to be a bizarre failure.
  11. The movie never finds a way to blend the emotional and the rat-a-tat-tat into one seamless package the way that Besson did in his one and only good movie, The Professional (1994).
  12. It's fun to watch at first. All that twirling and sliding is a nice change of pace from the usual seat-shaking pyrotechnics.
  13. It's a shame that this glossy production doesn't seem to realize it's actually promoting an altogether different message: when moms dare to leave the house, everything goes wrong.
  14. The movie itself is convoluted and almost unbelievably lackluster.
  15. A raft of fine actors – including Amy Adams, Richard Jenkins, and Downton Abbey’s Jessica Brown Findlay – are wasted in a sour, callow family drama that mistakes constant yelling for emotional tension and fortune-cookie aphorisms for wisdom.
  16. A major disappointment. Bleak, brutal, and ultimately pointless.
  17. The three main narratives cut back and forth between New York, Paris, and Rome, which is the best thing the movie has going for it: picturesque locations. Unfortunately, by the time we're done taking in the sights and Haggis finally coughs up his third-act puzzle-box twist, it comes off as a big metaphysical So What.
    • 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.
  18. The generational conflict — overly ambitious parents and their disaffected millennial children — plays so on-the-nose it almost seems like satire, but it’s really just bad writing.
    • 50 Metascore
    • 42 Critic Score
    When the situation is played totally straight, as it is for eighty percent of the running time, the message is boring: We'd all commit murder, theft and anarchy if only we could. With a narrative as depressively simplistic as that, we do find ourselves identifying with the characters in the movie—counting the minutes until the Purge is over.
    • 47 Metascore
    • 42 Critic Score
    When Johnson is wearing the head of the slayed Nemean lion in battle, walloping enemies with his tree-trunk sized club, and heaving charging horses to the ground with remarkable ease, he's in his Rock comfort zone. But as a tortured hero hampered by self-doubt, Johnson labors.
    • 38 Metascore
    • 42 Critic Score
    The Rob Reiner of the past might have tackled a challenging topic, even in a romantic comedy. But that director, who hasn't made a good movie since the mid-1990s, is gone. So it goes.
  19. In Mad Men mastermind Matthew Weiner's big-screen directorial debut, the aggressively unfunny Are You Here, all of the dark humor and delicate character shadings we're used to seeing on his TV series are conspicuously absent. He's swapped nuance for blunt-edged numskullery.
    • 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.
  20. If I Stay never bothers to go after authenticity when there's a cliché hovering nearby. That may not be enough of a drawback to prevent teenage audiences from lapping up the movie with a spoon, but they certainly deserve better.
  21. Within the pungent field of other wide-release scare jobs and films derived from cardboard-based time-killers for kids, Ouija stacks up relatively well, thanks to its look and a confident performance by Cooke.
  22. 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."
    • 52 Metascore
    • 42 Critic Score
    It feels more like a poem. Or, at times, a symphony. But it's much less effective as an actual movie.
    • 53 Metascore
    • 42 Critic Score
    Aims primarily for the kiddies, racing from one frenetic action sequence to another like some haywire Walter Lantz cartoon.
  23. The one bit of good news is that the first Gambler is currently streaming on Netflix. Do yourself a favor and watch that one instead.

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