Entertainment Weekly's Scores

For 5,996 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 3.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Air Force One
Lowest review score: 0 See Spot Run
Score distribution:
5996 movie reviews
  1. With its ungainly double-deception premise, How to Lose a Guy feels like it was made out of two connect-the-dots drawings laid haphazardly on top of one another.
  2. Even lush set pieces and a raft of prestige players (including Shohreh Aghdashloo, James Cromwell, and Jean Reno) can’t fulfill the movie’s pretty, ultimately empty promise.
  3. It isn’t until the wonderful Gladstone comes along with her aching tomboy heartache and sad seeking eyes that the film finally burrows below the surface and finally hits a dramatic nerve. Unfortunately, by then, it’s too little too late.
  4. Something is wrong under this big tent. Actually made to resemble a good old-fashioned, crowd-pleasing movie, this cinematic Water for Elephants droops and lumbers like Rosie the elephant herself.
    • 43 Metascore
    • 58 Critic Score
    Wait until the best parts pop up on YouTube.
  5. Beresford, who'd like to teach the world to sing, makes the moment as moving as a Coca-Cola jingle. It's not the real thing, but it's effective.
  6. As it is, the story collapses like a bad tip to Liz Smith. Still, there's something brash, retro, and even stupidly touching about all the chatty mania, and the way Baitz and Pacino get off on paranoia, conspiracy theories, and the lure of 1960s idealism.
  7. Jolie Pitt, who also wrote and directed, shows a lot of skin (her own and her cast’s) without ever really getting under it. Misery doesn’t just love good-looking company; it needs an emotional center and a satisfying narrative arc, too.
  8. Shanley turns out to have dismayingly few original cinematic notions to back up the basic did-he-or-didn't-he hook in his study of conviction and compassion.
    • 46 Metascore
    • 58 Reviewed by
      Ty Burr
    If writer-director Tony Vitale ladles on the cliches with extra sauce, Guido still has a hey-Ma-I'm-makin'-a-movie enthusiasm that's more infectious than it has a right to be.
  9. The surprise, and disappointment, of The Da Vinci Code is how slipshod and hokey the religious detective story now seems.
  10. The frankly preposterous nature of the film’s setup is rendered slightly less so by a couple of second act reveals. But, by then, many viewers will have lost interest in a movie with a very high bodycount but a very small amount of grit, either emotional or literal.
  11. Megan Leavey is one of those strong-arm soaps, and it certainly doesn’t hurt that it has a certain secret weapon in the forced-waterworks department—an adorable bomb-sniffing German shepherd. All together now: Awwwwww.
  12. The rules of good screenwriting are mostly broken, though Jamie Foxx's smash-and-grab charisma remains intact.
  13. There are fun moments, especially with Kristin Chenoweth’s vampy poison dart frog. But with more evolved films like "The LEGO Movie" and "Frozen" in the animated ecosphere, overstuffed and gag-reliant time-passers like the Rio movies feel like a dying breed.
  14. Has a voyeuristic tug, but all in all it's a lot less sensational than it wants to be.
  15. That Cruise fails to make a case for Reacher's allure, though, has less to do with physical dissonance than it does with the film's inability - stupefying inability, really - to otherwise make a case for the character's originality in a movie so choked with visual clichés and dreadfully moldy dialogue.
  16. The noisiest laughs in this watery animated comedy are reserved for those who value self-referential winks above all else.
  17. Florid, convoluted historical drama.
  18. The lack of drama and heat keeps Z for Zachariah joyless without much despair. It’s the end of the world as we know it, and you’ll feel bored.
  19. The movie, I'm sad to report, has a majorly disappointing follow-through. It turns into a noisy, squalling chase movie.
  20. Voyage of Time is a beautiful diversion, but almost entirely empty, even in its inquisitive big swings for profundity.
    • tbd Metascore
    • 58 Critic Score
    Ratter definitely delivers an effective paranoia creep-factor towards the end, but first, the audience has to get through about 45 minutes of just watching Ashley Benson cook eggs, shave her legs, and dance in her living room.
  21. The film is stuffed with three endings too many. You can't blame Raimi for wanting to give us our money's worth. But after a while, you just want him to get to the Happily Ever After already.
    • 46 Metascore
    • 58 Critic Score
    Earnest and intermittently diverting, this cheerful little movie isn't the sort of thing you see every day.
  22. Those scenes do allow star Sarah Bolger to showcase her range as a babysitter gradually transforming from sweet to sinister.
  23. Connoisseurs of digital animation, graphic novels, and the history of dystopian art will have plenty to discuss about Christian Volckman's visually striking, technically impressive black-and-white animated feature Renaissance…But no one will be talking about the movie's banal plot, the trite dialogue, or any of the indistinguishable characters who offer a bleak futuristic vision of cinema that's all style, no soul.
  24. As a work of art, the movie, shot quickly on digital video, is genial enough if unrefined.
  25. Shia LaBeouf, who appears to be on hand to prove that a movie with a crusading newspaper reporter can still exist, perks up his scenes, and Redford acts with his usual hyperalert, placid control.
    • 54 Metascore
    • 58 Critic Score
    This is one sexy and satisfyingly twisty dance.

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