Entertainment Weekly's Scores

For 5,887 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 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Wallace & Gromit: The Curse of the Were-Rabbit
Lowest review score: 0 Molly
Score distribution:
5887 movie reviews
  1. Walker is supposed to be lured by the buried treasure, but the actor, wearing Brad Pitt's bristle cut, is like Pitt with his sexy appetite sucked out.
  2. The big underachiever turns out to be DeVito, who is incapable of exhibiting believable warmth and complexity, or, indeed, of playing anyone who is not a cartoon.
  3. Bride Wars pretends to be a satire of wedding mania, but since there's virtually nothing else to the movie, the satire comes depressingly close to endorsement.
  4. Its tone is stilted and mannered -- and most of it seems a bit loony.
  5. More calculated than a Starbucks sampler CD, the picture could win the up-from-hardship award.
  6. Writer-director Sandra Goldbacher, a former BBC documentarian, fills the film with arid pauses, creating a claustrophobic study in ''repression.''
  7. The film's generic feminism pales beside its bloated sense of privilege, only underlined by a nonstop cabaret of sideshow acts.
  8. The two stars appear to be as bewildered by the turn of events as we are.
  9. Killer Joe throws down a dare by expecting its audience to be the cool connoisseurs of the story's "comic" outrageousness, then rubbing viewers' faces in close-up scenes of brutality that reasonable people ought not to be able to watch. That up-close experience, however effectively done, is a movie specialty that's its own kind of mean.
  10. Mostly an epic rehash of the tale Larsson has already told, and that makes it, at two hours and 28 minutes, the first movie in the series that never catches fire.
  11. Like a naive modernist hymn made by someone who doesn't, deep down, believe in hymns.
  12. With an ace troupe like that, there are affecting moments, to be sure. But the movie criminally wastes Sam Neill and Rosamund Pike in barely there supporting roles, and the picture has exactly two tones: grim and gooey. They do not coexist harmoniously.
  13. It's too bad that the film was directed by the Norwegian minimalist Bent Hamer (Kitchen Stories), who makes a fetish of building scenes around silence.
  14. Waving a dubious flag of feminist inclusivity, Cole and screenwriter William Ivory turn cartwheels insisting that girl power, even in the 1960s, trumped class divisions.
    • 48 Metascore
    • 50 Critic Score
    Hunt seems to confuse fast-talking with crackling banter, and the mother-son bond is way ickier than it is cute.
  15. When we’re first introduced, he’s an overwhelmed infant, and by the time the credits roll, he’s John McClane. Is that an accurate representation of how artificial intelligence can evolve? Absolutely. Does it make for compelling drama? Not particularly.
  16. A premise masquerading as a movie.
  17. Bacon instinctively pushes Loverboy toward surreal domestic satire. It's fascinating to watch Sedgwick try to make Emily into a luminous wack job.
  18. Gillen can't make good on his gaze's search and destroy capabilities.
  19. The Island begins with a whimper of interest as a cool-hued, cautionary exploration of the ethics of cloning, and ends, in a hail of product placement, with a dumb bang.
  20. The same money-minded dreamers who found a way to ''Return to Neverland'' have hacked a path back to Baloo heaven.
    • 32 Metascore
    • 50 Critic Score
    The movie struggles to find its comedic footing by trying to bring out the family man in Dan Trunkman and underutilizing Franco, whose character clearly has much more to his disadvantage than a lack of prior business experience. Bottom line: Unfinished Business doesn’t deserve that handshake after all.
  21. Lawrence Kasdan's comedy strikes a note of rib-nudging blah coyness that feels very 1987.
  22. Second Best might have made a good stage monologue, but as a film it's overstated and barely baked.
  23. It would be hard to imagine a filmmaking style as serious yet lazy as the earnest vérité bobbing and weaving employed by La Petite Jérusalem.
  24. Knock Knock is a pretty flimsy erotic thriller, but thanks to Reeves’ oaken obliviousness it’s also got a few moments of deliciously trashy fun.
  25. Amiably silly.
  26. A slippery entertainment that's all feints and few punches thrown at a fight card of indistinguishable terrorists, Muslim and otherwise.
  27. The cast, though, includes a great bunch of Brit faves who have all done better work elsewhere.
  28. Her (Harron) torpid adaptation of Rachel Klein's novel about female sexual desire, jealousy, death wishes, and vampires at a girls' boarding school defeats Harron's talent for exploring darkness on the edge of kinkiness.

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