Entertainment Weekly's Scores

For 6,045 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 A Prophet
Lowest review score: 0 What the #$*! Do We (K)now!?
Score distribution:
6045 movie reviews
  1. Demagogic shallowness has its appeal, and Falling Down could turn out to be the Network of the '90s. By the end, you may wish he'd just gone home and popped a couple of Excedrin instead.
  2. This is a movie so devoted to metal that it couldn't care less about the flesh it destroys.
  3. The characters twirl around like mini tornadoes, but between random brash moments of technological eye-tickling, Son of the Mask sags more than it spins.
  4. An unabashed descendant of "Bring Me the Head." This time, though, it's an entire corpse that gets hauled through the desert, and that's not all that's being toted. So is a hefty parcel of racial correctness.
  5. Takes a misguided swerve into the current downtown New York rock scene, so that it can spend more time preaching about the anarchy of the good old days than it does revealing them.
  6. Best to experience Shaker Heights for what it is: not a movie, exactly, but the true season capper of ''Project Greenlight,'' a series that finds its very drama on the road to mediocrity.
  7. The strange thing about Kindergarten Cop is how quickly it abandons its own concept. No sooner has Arnold gotten into class than he's yanked back into the mechanics of the movie's generic thriller plot. Perhaps this wouldn't be as noticeable if there were a few more sparks between Schwarzenegger and the kids.
  8. It seems to have been made by people who couldn't decide if their film was a horror flick, a whodunit, or a "Hellboy" knockoff.
  9. Cotillard, with stringy long hair and a coal fire of severity in her eyes, has what it takes to play a woman who feels that she's lost everything. But she's forced to flail and mood-swing from scene to scene. In an insult to the disabled, there is never much to her but her hellacious injury.
  10. An act of nose-thumbing that never quite figures out how, or even where, to position its thumb.
  11. A feel-good movie that doesn't give you enough to feel good about.
  12. Yes, You Again. We've met before.
  13. If you think it all adds up to a bald-faced rip off of ''The Shining,'' you'd be right, with a crucial difference: Wendigo trades the puffed-up metaphysics of middle-class murder for the no-budget spectacle of...an incredibly fake-looking monster deer.
  14. The numbers, while lively, remain cluttered and stage-bound. The women, however, are spirited and sexy.
  15. Rio
    The soundtrack, overseen by Sergio Mendes, has a few lively bossa nova moments, but not nearly enough.
  16. It's been a while since we saw a bad John Hughes comedy, and Are We There Yet? more than fits the bill (even though Hughes had absolutely nothing to do with it).
    • 49 Metascore
    • 50 Critic Score
    Kind of like a feel-good "Saw" for churchgoers, minus the sadistic games of death.
  17. Examination of one of the English language's most useful utterances and why the sound packs such a friggin' wallop.
  18. 12
    Has none of the crisp passion or suspense of the 1957 Sidney Lumet version; it's bloated, heavy-handed, and lugubrious.
  19. A derisively vicious show-off satire, a plastic exercise in authority bashing.
  20. The movie is short on wisdom, but it might have gotten by if it had had better filth.
  21. Can’t decide whether it wants to be a chilling survival movie or a sweeping romance. It never fully commits to either genre, and the result is a forgettable adventure that leaves you feeling cold.
  22. The quaint racial blinders are really on the eyes of the filmmaker, Peter Hedges, who shoves his characters into the narrowest of sitcom slots and seals them there.
  23. In the end, what should be a three-hankie, ugly-cry tearjerker feels unnuanced, overplotted, and mechanical. Frank and Mary deserved better.
  24. Watching Running With Scissors the movie instead of reading Running With Scissors the best-selling memoir by Augusten Burroughs is like running with a spatula, or maybe some weird toast tongs.
  25. For This Boy's Life to work as ominous domestic drama, it's essential that we see Dwight as a flesh-and-blood monster. De Niro, unfortunately, just seems to be reveling in the chance to play another viciously demented freak, like Cape Fear's Max Cady.
  26. After ''Seven'' and three ''Hannibal'' hits, the audience tolerance for baroque serial-killer flourishes has been duly amped. We require sustained creativity in our sick violence, and Taking Lives, after a token bit of ghastly foreplay, loses its life.
  27. What’s spanglish for déjà vu? There’s hardly a single moment in Hot Pursuit that won’t remind you of scenes you’ve seen at the multiplex a thousand times before. (The movie’s original title was Don’t Mess With Texas, probably because Thelma & Louise Ride the Pineapple Express All the Way to Jump Street — and They’ve Got Lethal Weapons, Y’all! was just too long.)
  28. May find an audience, but I found it to be a leftover John Hughes triangle.
  29. The sermonizing on behalf of good clean fun and hard old effort (Cosby co-wrote the script) is as faded as Big Al's sweater after too many days on earth.

Top Trailers