Entertainment Weekly's Scores

For 6,050 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 Only Yesterday (1991)
Lowest review score: 0 Left Behind
Score distribution:
6050 movie reviews
  1. May find an audience, but I found it to be a leftover John Hughes triangle.
  2. 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.
  3. If you like Kathy Bates movies, you'll probably be frustrated with this one, since as Tripp's mother, the invaluable character actress is made to whipsaw between playing sappy domestic slave to her son's laundry and salty, overly sexual wife.
  4. If random arty blood thrills are your cup of fear, perhaps you'll enjoy Let the Right One In, a Swedish head-scratcher that has a few creepy images but very little holding them together.
  5. All of which leaves you wondering: Why cast such talented, interesting, and edgy performers if you're only going to ask them play it safe?
  6. If you're hungry to see a romantic comedy about a genetically and culturally imbalanced geek-meets-babe relationship that makes the one in Knocked Up look like the quintessence of plausible human mating, then by all means subject yourself to the one-joke sub–Judd Apatow snark-athon that is She's Out of My League.
  7. Designed to be "inspirational," yet it shortchanges the complex reality of the lives it makes such a show of saving.
  8. Sometimes Brenda Blethyn is content merely to nibble the scenery. In Introducing the Dwights, a drippy Australian family comedy caper, she chomps it to a pulp until we long for her straightforward monstrosity as a mother in "Little Voice."
    • 40 Metascore
    • 50 Critic Score
    Originally conceived as a videogame, Kaena is now, instead, a creamy-colored yet derivative sci-fi fantasy with a few rip-offs so blatant (''The Empire Strikes Back,'' ''Alien,'' etc.) that even kiddie fans not yet mentally agile enough to make sense of the loopy plot could pick them out.
  9. Rory O'Shea Was Here gazes at the physically afflicted and just about begs for our sympathy long after we've grown restless and eager to feel something else.
  10. Bobcat Goldthwait's new movie is a burlesque that turns into a harangue that turns into a rampage.
  11. Lifting a concept isn't exactly foreign to the world of animation (what's "The Lion King" if not "Bambi" with manes?), but it isn't often a rip-off gets as blatant as The Wild, a flat-out regurgitation of "Madagascar."
  12. Effective horror relies on the actualization of some deep-seated cultural fear, but Ouija: Origin of Evil supplies only ineffective clichés and half-hearted attempts at franchise building.
  13. This arena, unfortunately, is no Thunderdome. The chariot race is sloppily framed, choppily edited, and droopily choreographed, with special effects that look like they needed another few passes through the CGI machine.
  14. Special kudos go to Walker, for his dead-on impression of a time-traveling 2x4, and the perpetually hysterical O'Connor, who delivers one of the most grating performances in history.
  15. To be fair, Eckhart is physically impressive and Bill Nighy and his raised eyebrow do their best in the role of demon leader Naberius. But I, Frankenstein shares something else with it's monster-hero, something much worse than its patchwork nature: The film is distinctly lacking in the soul department.
  16. Dopey, not dope.
  17. It's a slow-burner that burns so slowly its wick completely fizzles out.
  18. Director John Singleton offers bits of suspense, but Abduction is less a movie than a piece of engineering, a glumly ludicrous cat-and-mouse blowout designed to win Lautner male fans along with his girl demo.
  19. It's all very sincere, but watching a dweebish depressive learn that Life Is Good is a lesson of diminishing returns.
  20. The truth is, the freakiness kinda turns the director on, and he nearly strangles Suspect Zero with love.
  21. The film has flashes of psychedelic visual energy, but its story is limp.
  22. Seyfried works hard for your empathy, with the same naïveté that helped secure Boreman's rep as the ''sexy Raggedy Ann.'' And Sarsgaard is perfect for this role, oozing '70s sleaze in all its mustache-smoothing glory. But even they can't add depth to this sad story.
  23. Annabelle: Creation isn’t a terrible film. Not exactly. The set-up is promising, and it offers some decent early jump scares. But eventually the thinness of the material becomes overwhelmingly obvious.
  24. A Soldier's Daughter Never Cries is suffused with a rarefied emotional glow, and that's something contemporary audiences may be almost desperate to respond to. Yet the movie is also tentative, rambling, and maddeningly shapeless.
  25. Higher Learning starts out as a liberal message movie, but it turns into a demagogic rabble-rouser, a shrewdly incendiary exploitation of these wayward days of rage.
  26. Watching the movie, it's hard to imagine why anyone would dream of going back there.
  27. In short, this Josh Trank-directed reboot had a very low hurdle to overcome to become the best FF movie so far. The most fantastical aspect of the movie is that it may not achieve that goal.
  28. Indecent Proposal starts out kinky and turns into a languid-and shockingly banal- domestic soap opera.
  29. Despite some sizzle with love interest Mekhi Phifer, the alluring Alba ends up a desexualized mouthpiece.

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