Entertainment Weekly's Scores

For 5,990 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 3.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Lebanon
Lowest review score: 0 The Host
Score distribution:
5990 movie reviews
    • 29 Metascore
    • 42 Critic Score
    The looming notion that Ratchet & Clank’s story and characters already exist (in playable form, to boot) consistently tugs us away from the film at hand and into the nearest GameStop, where we’re free to browse the shelves for a far more satisfying experience.
  1. The movie isn't racist; it's just lame. If Brooks truly cared about Muslims or how their funny bones worked, Looking for Comedy might have had some zing, but all his character is interested in is the 500-page report he has to deliver - a homework assignment from hell.
  2. Twelve ogles the lost boys and girls as they make their mistakes. But unlike the novel, the movie never really gets inside these kids, who aren't in the least all right.
  3. Roland Joffé brings an artful video-grunge look, and not much else, to this "Saw" clone.
  4. A blood-simple backwoods spatterfest that makes shameless use of the same old antirural moonshine Hollywood's been bootlegging for decades.
  5. Murderously dull stretches of dialogue suck most of the fun out of this sloppy drama.
    • 85 Metascore
    • 42 Critic Score
    Lacks grace, coherence, and a surface vivid enough to make it an alarm that many will hear.
  6. Worse, he (Reiner) vacuum-seals it all in a patronizingly wholesome package, like an extended episode of "The Wonder Years" with all the wonder sucked out.
  7. The film has barely started, and already we can tell what we're in for -- two hours of metaphysical drift.
  8. The result apes "The Bourne Identity" so slavishly yet so boringly it winds up with no identity at all.
  9. The pond is so shallow in this wan romance that there's no room for anything to float.
    • 46 Metascore
    • 42 Critic Score
    The film spends most of its time tracing Bombay’s predictable transformation from supercompetitive to supercompassionate coach, a metamorphosis that will most likely bore young audiences who don’t yet know what a mid-life crisis is, let alone identify with one.
  10. Technically, Madonna's singing is beautiful -- elegant, silky, refined. Yet there's no fire, no twinkle of ambitious joy, to her performance. Her face is fixed, almost tranquilized -- a porcelain mask.
  11. A Smith production is always noisy, shambling, and liberally smutty on the outside while conservatively gooey on the inside.
  12. The result is a naughty throwaway in all senses of the word.
  13. So much flatter than it was on the comic-book page.
  14. 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.
  15. Rourke, whose face has become an inexpressive waxwork in recent years, doesn’t do much with what’s already a pretty undercooked role.
  16. 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.
    • 58 Metascore
    • 42 Critic Score
    Older and younger movie star snipe and glare at each other with little subtlety, and little chemistry either. The two characters appear to be skirmishing only because they're supposed to by convention.
  17. The film, which sparked enough controversy that French theaters refused to pick it up, spends too much time bogged down in its more decadent scenes to spark any new insights.
  18. A poky dawdle of a Southern-style indie that would pass without notice but for John Travolta and Scarlett Johansson.
  19. Garry Marshall takes over the movie (no mystery: his son, Scott, directed it), and Keeping Up With the Steins turns into a recipe to forget: chopped liver with ''heart.''
  20. Sound titillating? It's not.
  21. 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).
  22. Sci-fi horror aficionados, however, might want to look elsewhere for their scares, as they're unlikely to find any here. Fright-wise, The Cave is a dry hole.
    • 49 Metascore
    • 42 Critic Score
    A little more script work, at the very least, should have gone into the manufacture of the black comedy Bedazzled.
  23. Joy
    If only Russell trusted Mangano’s true story. Instead, he’s turned her life into a over-staged mess of awkward exposition, contrived dialogue, and characters so willfully unreal they feel acrylic.
  24. Wan, generically pretty adaptation of Alessandro Baricco's 1996 novel.
  25. The nightmare is that the live guys in this Dreamcatcher lose the battle the minute the mechanical worm turns.

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