Entertainment Weekly's Scores

For 5,826 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 3.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Shower
Lowest review score: 0 Even Cowgirls Get the Blues
Score distribution:
5826 movie reviews
  1. Ends up blowing its own joke. Instead of making Joe blissfully arrogant in his Southern rock dude myopia, it turns him into a shuffling masochistic loser.
    • 42 Metascore
    • 50 Critic Score
    The Boy, from director William Brent Bell, aims to set itself squarely in the fictional canon of "Chucky" and its brethren, but it ends up trying to do so much that it forgets to scare us.
  2. In one of his final roles, Philip Seymour Hoffman stars as a man whose no-good stepson is killed on a construction job, while John Turturro, Richard Jenkins, and Christina Hendricks round out a formidable cast that isn’t given much to work with.
  3. The teachers (including original cast member Debbie Allen as school principal) turn out to be the best part of the show.
  4. Not until the last 20 minutes does Gozu come fully alive. A man has sex with a seductive beauty, who then gives birth to...well, let's just say it's a sight that may take time to fight its way out of your head.
    • 31 Metascore
    • 50 Critic Score
    Playing a sleazeball who has stumbled upon an excellent excuse for his bent, Cage holds the movie together as best he can. More important, he nails down his unique approach to acting, managing to be simultaneously stylized and naturalistic. [7 June 1996, p.66]
    • Entertainment Weekly
  5. You can forget about veracity, since this gauzy and sometimes dopey romanticization can't be trusted.
  6. Mandy Lane does eventually build to a whiplash twist ending, but it's too little, too late — much like the film itself. Here's a case where the backstory is more interesting than the movie.
  7. The plot is a nonsensical mess -- which just caps off the ugliness.
  8. This clumsy, cheesy, chintzy adaptation, with its F/X that look dated the moment you see them, is like something left over from the '60s.
  9. The accountant in Bloom would probably approve of the new Producers: It's an efficient extension of a popular brand. In theory, what's not to like? In reality, the whole schmear.
  10. A trashy, frenetic remake of Fred Zinnemann's 1973 The Day of the Jackal, The Jackal is mired in blood, cheap shocks, and a random network of improbability.
  11. Dudsville.
  12. About the only thing the movie kills with any decisiveness is your time.
  13. The young cast is terrific, giving the stories unearned weight.
  14. Shyamalan's most alienating and self-absorbed project to date.
  15. Turns out to be just another dud in the genre of revisionist mysteries that have been messing with our heads since Haley Joel Osment saw dead people. Only this time, the big reveal doesn't so much twist the plot as snap its neck.
  16. The comedy here isn’t very funny and the drama isn’t very sharp.
  17. After an hour of inert exposition, a race through Shanghai gooses the movie alive. Then it plunges back into torpor.
  18. Directors Zeke and Simon Hawkins add air-quote references to Jim Thompson, Steven Soderbergh, and the Coen brothers but are too proud of the movie's twists to make them truly snap. Call it "Blood Simple-ton."
  19. Daniels plays Arlen with a kind of cuddly crankiness; he makes him a jerk who just needs a hug.
  20. The Rocketeer is mostly an example of pop moviemaking at its most derivative.
  21. Most of the numbers in Rock of Ages are flatly shot and choreographed, and they look as if they'd been edited together with a meat cleaver. With rare exceptions, they don't channel the excitement of the music - they stultify it.
  22. If Take My Eyes explored how a woman could still feel for a man who abused her, it might have gripped us with its difficult truths. But the movie presents Pilar and Antonio's marriage as a stale, neurotic dead end.
  23. Slipshod rather than sly. There's no fury to the movie, repressed or otherwise, which may be why when the Revolution arrives, it has all the impact of a guillotine with a deadly dull blade.
  24. Soon enough it's back to stale jokes about spousal date nights.
  25. Stanley Tucci, Hope Davis, Anne Heche, and Sofia Vergara all pop up in glorified cameos and give the movie more fizz than their roles require. Which begs the question: Why would they sign on for such thankless, bite-size roles?
  26. Any random episode of Law & Order would be more sophisticated than this heavy-handed, moralistic Southern-lawyer corn pone, directed by Francis Ford Coppola.
  27. The directorial debut of actress Katie Holmes, starring herself as Rita, a drunk single mother living out of her car, is the latest well-intentioned yet lousy-with-clichés treatment in the hard-luck-woman subgenre.
  28. Young boys are the only suitable audience for Speed Racer, the elaborate live-action adaptation written and directed by "Matrix" creators Larry and Andy Wachowski. And even they might feel an urge to squirm.

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