Entertainment Weekly's Scores

For 5,207 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 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Police, Adjective
Lowest review score: 0 Valentine's Day
Score distribution:
5,207 movie reviews
  1. The title gives one hope.
  2. So shameless is The Kingdom, ignoring consequence and treating its audience like cash-dispensing machines with buttons to be pushed rather than thinking individuals willing to consider the reality of America's entanglement with the Middle East.
    • 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.
  3. A dawdling, myopic drama.
    • 25 Metascore
    • 42 Critic Score
    The movie butts up against the director's newfound pretensions -- pseudo-philosophical voice-over, psychobabble, faux-art-film plotting -- and turns incomprehensible.
  4. Parents can trust that none of their wee ones will ask for a stuffed water horse for Christmas. The star of this Scottish fable, about the mythical Loch Ness monster, looks like a raw chicken breast with teeth when he hatches.
  5. Rudd's talents as a thinking woman's charmer are wasted -- as are those of amiable Jason Biggs in a weak variation on the pop theme of being a gal's gay best friend.
  6. The big goofball relies too much on the funny hair and swingin' postures of the era as punchlines in themselves.
  7. The film is so committed to its view of Ezra as a pawn in the psychotic game of postcolonial Africa that he is never allowed, as a character, to become more than a pawn.
  8. Seems like a technological regression.
  9. 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.
  10. The Ruins is lumpish, static, and obvious. It's a gringos-go-home cautionary fright flick done in the spirit of a cheap '50s horror movie, except that it leaves you longing for the competence of grade-Z studio-system trash.
    • 49 Metascore
    • 42 Critic Score
    Liu Ye is too inexpressive for his role's demands, and the movie doesn't build to his downfall: It just zaps itself there.
  11. A primer no one needed, Where in the World Is Osama bin Laden? should have been called "The Post-9/11 World for Dummies."
  12. An only-in-the-movies mother hustles pool to raise the money to abduct the son she's been forbidden to see since her divorce.
    • 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.
  13. Graham is charming, but Miss Conception is a cloddish biological-clock bedroom farce.
  14. Long before the second hour of Australia (which feels like the fifth), it's clear that Luhrmann hasn't found a satisfactory way to make a movie nearly as ballsy -- or coherent -- as he wants his creation to be.
  15. The only brazen thing about the film is how shamelessly it rips off "School of Rock."
  16. Friendly yet toothless, College musters little energy even as anarchic-party-movie nostalgia.
  17. A brain-squandering thriller.
  18. Lane and Gere mime adult courtship with the efficiency of synchronized swimmers. Yet in this ocean of emotion, they look like they're drowning.
  19. Miracle isn't powerful, it's muddled and diffuse.
    • 47 Metascore
    • 42 Critic Score
    Jackson is the best thing here.
    • 20 Metascore
    • 42 Critic Score
    The production values have become so horror-movie shoddy that Saw V has more in common with kitsch like "Friday the 13th Part V" than the original "Saw."
  20. The story's a snooze, so the filmmakers punch it up with smash cuts and thunderclaps that turn the most laughably banal items -- birds, mail, an alarm clock -- into cheap jack-in-the-box shocks.
  21. A Smith production is always noisy, shambling, and liberally smutty on the outside while conservatively gooey on the inside.
  22. The story is as impersonal as it is labored.
  23. The original Day the Earth Stood Still had a paranoid poetry that lifted the audience up even as it warned the world to come together. This one is so dour it just comes off as a scolding.
  24. There are still cuddly pups and piddle jokes aplenty.

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