Entertainment Weekly's Scores

For 5,286 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:
5,286 movie reviews
  1. It's all the thrill of watching other people play Uno.
  2. Has the taint of exploitation.
  3. The title translates, roughly, as ''This & That,'' a confectionary shrug that pretty well sums up the blasé inconsequentiality of it all.
  4. Like Mike has the synthetically wrapped pseudo-charm of a perfunctory ''Flubber'' sequel.
  5. Seems to have been given the comedy equivalent of blood thinner. It has the blazing satirical boldness to skewer the first Tobey Maguire Spider-Man -- and, amazingly, not much else.
  6. 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.
    • 41 Metascore
    • 42 Critic Score
    A hopelessly stupid movie that should appeal to baked couch potatoes everywhere.
  7. Sokurov's new companion piece (to "Mother and Son"), has the tedium without the trance.
  8. Nothing more than a bad harvest.
  9. Perry has taken Shange's feminist word-and-movement portraits of disenfranchised African-American women and turned those howls into...a maddeningly choppy mess of a Tyler Perry movie.
  10. Manages to take great characters and a great plot and leach them of all blood, terror, and excitement.
  11. Director and co-writer William Bindley engages every move in the underdog playbook, including, but not limited to, the time the good citizens of Bedford Falls chipped in to make up George Bailey's shortfall in "It's a Wonderful Life."
    • 38 Metascore
    • 42 Critic Score
    A movie that should've been made shortly after its source material -- Susan Cooper's Newbery winner -- debuted in 1973. As is, it feels entirely too generic to work today.
    • 47 Metascore
    • 42 Critic Score
    This period piece is exactly what you'd expect from a Merchant Ivory production: a tragic tale of love set against a backdrop of opulent scenery.
  12. Now it's just some thin chick in her underwear, kicking butt.
  13. It's the showy story, script, and even staging that wear a fella out in this relentlessly precious feature debut by writer-director Jordan Roberts.
  14. 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.
  15. After too many ''Full Monty''s, it has come to look like nothing so much as a coy ritual of emasculation.
  16. 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."
  17. This unexceptional 1970s coming-of-age story is neither outrageous, new, nor comedic.
  18. Cotton candy story with an acrid aftertaste.
  19. 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.
  20. 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.
  21. At least they do look sharp in those suits.
  22. 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.
  23. Be prepared to collapse into a hoot and a howl of hilarity at all the wrong moments.
  24. 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.
  25. Adore has the distinction of featuring some of the most laughable dialogue in any movie this year.
  26. 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.
  27. It's like a series of cliches exploding in your face.

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