Entertainment Weekly's Scores

For 5,962 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 3.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Moonlight
Lowest review score: 0 I Know Who Killed Me
Score distribution:
5962 movie reviews
  1. Special kudos go to Walker, for his dead-on impression of a time-traveling 2x4, and the perpetually hysterical O'Connor, who delivers one of the most grating performances in history.
  2. To be fair, Eckhart is physically impressive and Bill Nighy and his raised eyebrow do their best in the role of demon leader Naberius. But I, Frankenstein shares something else with it's monster-hero, something much worse than its patchwork nature: The film is distinctly lacking in the soul department.
  3. Dopey, not dope.
  4. It's a slow-burner that burns so slowly its wick completely fizzles out.
  5. Director John Singleton offers bits of suspense, but Abduction is less a movie than a piece of engineering, a glumly ludicrous cat-and-mouse blowout designed to win Lautner male fans along with his girl demo.
  6. It's all very sincere, but watching a dweebish depressive learn that Life Is Good is a lesson of diminishing returns.
  7. The truth is, the freakiness kinda turns the director on, and he nearly strangles Suspect Zero with love.
  8. The film has flashes of psychedelic visual energy, but its story is limp.
  9. Seyfried works hard for your empathy, with the same naïveté that helped secure Boreman's rep as the ''sexy Raggedy Ann.'' And Sarsgaard is perfect for this role, oozing '70s sleaze in all its mustache-smoothing glory. But even they can't add depth to this sad story.
  10. A Soldier's Daughter Never Cries is suffused with a rarefied emotional glow, and that's something contemporary audiences may be almost desperate to respond to. Yet the movie is also tentative, rambling, and maddeningly shapeless.
  11. Higher Learning starts out as a liberal message movie, but it turns into a demagogic rabble-rouser, a shrewdly incendiary exploitation of these wayward days of rage.
  12. Watching the movie, it's hard to imagine why anyone would dream of going back there.
  13. In short, this Josh Trank-directed reboot had a very low hurdle to overcome to become the best FF movie so far. The most fantastical aspect of the movie is that it may not achieve that goal.
  14. Indecent Proposal starts out kinky and turns into a languid-and shockingly banal- domestic soap opera.
  15. Despite some sizzle with love interest Mekhi Phifer, the alluring Alba ends up a desexualized mouthpiece.
  16. Thérese unfolds with the sunlight-and-daffodils piety of a Sunday school slide show.
  17. This rusted-future comic strip comes at you in shards -- exhaustingly derivative images of mayhem and titillation, with Lee, in her bad-girl bondage gear, as its blank vixen. If you didn't call her babe, she wouldn't exist.
  18. The film is so self-conscious it seems to be dictating your every reaction.
  19. I'm disappointed to report that Hudson and Watts have no chemistry as sisters, perhaps because Watts never seems like the expatriate artiste she's supposed to be playing.
  20. It's every bit as nonsensical and overitalicized a mess as ''The Whole Nine Yards.''
  21. With no thriller cliché left unused, the gaily outlandish plot is matched by tin-eared dialogue, ripe tough-guy overacting from the very game Pearce, and best-that-she-could acting from Grace.
  22. This voyage is strictly one for the disposable present, however quaintly old-fashioned the hand-drawn work that the animators have blended with 3D effects. (Tots will twitch during the grown-up relationship parts, and teens will groan at the kiddie sops.)
  23. No maid, and no fancy lady either, would swoon for a fellow as damp as the hero so grudgingly coughed up by Fiennes. In the words of Cinderellas everywhere, no effin' way.
  24. The Comedy pretends to be a satire of entitlement, but it's made in a style so indulgent that the whole film feels entitled in the extreme.
  25. The movie’s silly-arty aesthetic is regurgitated Polanski, and there’s a shameless script steal from "Presumed Innocent."
  26. The real crime is the way that the movie turns Gael García Bernal, the hot-tempered, Roman-lipped costar of ''Y Tu Mamá También, into a backwater Freddie Prinze Jr.
  27. The local multiplex is lousy with celluloid crime fighters. So what turf is left for good old Clark Kent? That's the nagging question that director Zack Snyder's Man of Steel tries — and ultimately fails — to answer.
  28. Has no pretentions to be anything more than a goose-bumpy fantasy theme-park ride for kids, but it's such a routine ride.
    • 32 Metascore
    • 50 Reviewed by
      Ty Burr
    Shabbily filmed, thoroughly harmless Official Product.
    • 27 Metascore
    • 50 Critic Score
    Saldana (Avatar, Guardians of the Galaxy) is an accomplished and bankable actress, but she doesn’t look much like Simone. That has led to several complaints, including from the Simone estate.

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