Entertainment Weekly's Scores

For 5,127 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: 65
Highest review score: 100 An Unreasonable Man
Lowest review score: 0 Patch Adams
Score distribution:
5,127 movie reviews
  1. Antal has assembled what may be the single most colorless group of mangy lowlifes I have ever seen.
  2. Isn't up to much of anything besides pretending that swearwords and snot-nosed insults, served up by Santa with an almost institutional monotony, aren't just naughty. They're -- big joke! -- incorrect.
  3. A few more films like Tears of the Black Tiger, and kitsch will be on its way to having a bad name.
  4. Why would filmmakers with this much talent work this hard to thumb their noses at everything they put on screen?
  5. While it won't win any Oscars, Matthew Cooke's new documentary How To Make Money Selling Drugs may take the prize for being the shallowest and most glib film of the year.
  6. I gave up making heads or tails of Synecdoche, New York, but I did get one message: The compulsion to stand outside of one's life and observe it to THIS degree isn't the mechanism of art -- it's the structure of psychosis.
  7. A glumly serious British mock rock doc: You could forgive the paucity of jokes if Brothers of the Head had anything to say, or if the '70s-vérité surface were remotely convincing.
  8. Watching Pecker, his rickety new comedy about a teenage Baltimore shutterbug, it becomes clear that Waters has grown color-blind to his own sleazo-shock aesthetic.
  9. If, as Fincher has said, this movie is supposed to be funny, then the joke's on us.
  10. It's one of those stultifying aftermath-of-
a-car-crash movies.
  11. A brutally monotonous thriller.
  12. You'd think that the film would ask you to be appalled at this scenario of forced servitude -- but no, it's treated as harmless and cute, like an Israeli ''Chico and the Man.''
  13. It has that vintage Polish pace, their signature arch pomposity and rhythmless weirdness, only this time the brothers had to go and make a cosmic allegory of American dreams.
  14. Inert dud of a hitmen-are-people-too comedy.
  15. It's both exhausting and laughable in its eagerness to shock. That's the bad news. The worse news is that Volume II comes out next month.
  16. A Scottish weepie of such bathos and balderdash that it deserves a drinking game in its rotten honor.
  17. The result is a dead pile of information in search of a movie.
  18. Since there is a mystery, the movie might have been entertaining camp had director Taylor Hackford staged it with pace, style, or a whisper of surprise. Instead, the plot just clunks forward-for two hours and 10 minutes.
  19. The wedding, which turns the very concept of ''Greek'' into the sort of hideous, pandering clichés that look rejected from bad Jewish and Italian sitcoms.
  20. Whenever an actress takes on a gritty working-class role, the audience does a gut check of authenticity. Either the actress gets it, like Melissa Leo did in "Frozen River," or she doesn't, like Michelle Monaghan as the spoilin'-for-a-fight truck-driver heroine of the inert indie dud Trucker
  21. Have there ever been two less energetic stars than Eric Stoltz and Annabella Sciorra? Casting this diffident duo in an allegedly romantic comedy proves disastrous; they suck the air out of virtually every scene.
  22. I love a good mind-bender, but it's getting more common these days to see thrillers that don't so much bend your mind as chop it, smash it, and place it in the Cuisinart. Trance, the new film directed by Danny Boyle is a high-brainiac art-world thriller that wants to do nothing more (or less) than give your head a majorly pleasurable spin.
  23. A portentous and goopy Dutch drama.
  24. Labored miscalculation of a teen-trend comedy.
  25. Holland's empurpled bio-fantasy is hooey with an anachronistic feminist slant from start to finish.
  26. If you look hard, you can make out a story in Femme Fatale, but it has nothing to do with the senseless pileup of jewel thievery, shutterbug voyeurism, and leggy sex bombs so shallow and bad they seem to have come out of a 1978 copy of Hustler magazine.
    • 59 Metascore
    • 33 Critic Score
    An unctuous rom-com that runs its characters through every plastic cliché of a pre-Oscar McConaughey vehicle, ultimately causing us to root against the vacuous couple and their predetermined happy ending.
  27. A fractious fiasco: whiplash camera movement set to raging blasts of death metal, a story so incoherent it made me wish I was watching, instead, the collected outtakes from Van Helsing.
  28. The movie lacks even the misplaced fervor of obsession. It's lifeless kitsch.
  29. What's on screen is lazy, second-rate, phoned-in -- a heist in which it's the audience whose pockets have been picked.

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