Entertainment Weekly's Scores

For 5,104 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 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Pete Seeger: The Power of Song
Lowest review score: 0 Sleepover
Score distribution:
5,104 movie reviews
  1. Every porridgy inmate in this instantly forgettable romp warbles in the prison's amateur musical, and one of them demonstrates a rather extreme devotion to the tomatoes he grows in the on-site greenhouse.
  2. The fusion of cheekiness and deliberately overscaled fantasy never jells.
  3. Garish, squeal-pitched preteen comedy.
    • 19 Metascore
    • 33 Critic Score
    Director Walter Hill won't take credit for Supernova... Can you blame him?
    • 35 Metascore
    • 33 Critic Score
    This sequel adds more insults and injuries that could traumatize little ones. Most frightening of all, the ending leaves the door open for ''103 Dalmatians,'' which would certainly constitute Cruella and unusual punishment.
    • 16 Metascore
    • 33 Critic Score
    If you put the scripts for ''West Side Story,'' ''Mean Streets,'' and ''The Warriors'' in a blender, you might wind up with something like Deuces Wild, a preposterously melodramatic paean to gang-member teens in Brooklyn circa 1958.
  4. A film not even a star as foxed and foxy as Johnny Depp himself could save.
  5. Has all the mood enhancing flavor of a tropical cocktail made with watered down rum and fake fruit juice.
  6. This toothless thriller...feels like a strained reworking of ''The Fugitive.''
    • 46 Metascore
    • 33 Critic Score
    As campy as a flick by Banderas' evident artistic mentor, Pedro Almódovar.
  7. The characters who cross paths here in the hard shadows of late-'90s New York City are meant to convey loneliness, bitterness, neediness, loss, and bad karma. Mostly, they convey bad Sundance.
  8. This cinematic stiff should have stayed buried.
  9. How lame have high-concept, no-brain comedies gotten?
  10. Nobody's got a clue. Enquiring minds don't even want to know.
  11. A recitation of woes doesn't constitute a plot, and panoramic shots of migrating wildlife don't convey enough African flavor.
  12. McCarthy's rawhide has become movie Naugahyde, a substance unknown in literature or in nature.
  13. The Avengers is too enervated to qualify as even a full-scale disaster.
  14. Few comedies have worked this hard to make everyone on screen look this dumb.
  15. The movie doesn't so much extend Schwartzman's antic outsider persona from ''Rushmore'' as uglify it, reducing him to the ultimate Uncool Anti-WASP.
  16. The endless, numbing sameness of it all.
  17. It just makes you want to flip on the tube to see the real (fake) thing.
    • 48 Metascore
    • 33 Critic Score
    Really, the sole favor Dolman does the plucky Hawn is to light her rear end so that its continued gloriousness can be appreciated.
  18. The Medallion makes you long for Tucker -- and for Jackie Chan to fly without digital wings.
  19. Silly, undone by lack of faith in its own subject.
  20. It's like the worst movie Jean-Claude Van Damme never made.
  21. Empty jokes hang heavy.
  22. Features the dullest, least lifelike collection of pals this side of "Eyes Wide Shut."
  23. If you've always longed to see a Cold War satire done in the hit 'em over the head frantic camp mode of ''Love, American Style,'' then Company Man is the movie for you.
  24. No worse than any disease-of-the-week TV movie, and no more moralistic than any Lifetime drama. But it's no better, either, and it ought to be.
    • 25 Metascore
    • 33 Critic Score
    Bogusly wholesome six-gun dud.
  25. This rusty jalopy of a movie, which is so ramshackle it's nearly enough to make you forget how tossed-together the 1976 ''Car Wash'' was.
  26. Tells a moldy-oldie, not-nearly-as-nasty-as-it-thinks-it-is joke. Over and over again.
  27. A demented, orgiastically gory vampire/sex parable.
    • 39 Metascore
    • 33 Critic Score
    A tired action thriller determined to play the race card every which way for every which kind of viewer, seems hopelessly behind the curve.
  28. Without any of the patented Farrelly insight into the insecure, horndoggy teen in every man, and without a grown-up setting in which Harry and Lloyd can transgress like dum-dum geniuses,Dumb and Dumberer is dumberest.
  29. It's hard to say what's more excruciating: Alex's novel, which is like ''The Great Gatsby'' rewritten by Lizzie McGuire, or his quarrelsome flirtation with Emma, who has no existence as a character apart from her drive to reshape Alex into a specimen of respectable tamed manhood.
  30. Not one female character escapes mockery or patronizing.
  31. It was originally called ''Animal Husbandry,'' and while the producers were throwing away that title, they might have done well to chuck the movie along with it.
    • 16 Metascore
    • 33 Critic Score
    Sitting on your couch watching these morons sit on their couch and get wasted is like being the only straight guest at a pot party. Everyone else is laughing, and you're left wondering why.
  32. The few jaunty, ''Friends''-inflected lines Perry does get off are lost among the cow pies.
  33. Bland to dismal.
    • 19 Metascore
    • 33 Critic Score
    Long on smarm and short on charm.
  34. Jean-Claude Van Damme's latest dud.
  35. Bloodless and false.
  36. The only pleasure to be derived from the resulting carnage comes from the Rube Goldbergesque chain reactions that precede each fatality.
  37. If Crowe's eyes are open, he seems to have directed most of Vanilla Sky with his mind wide shut.
  38. With his tousled mane and wispy facial hair, Asian pop star/ Prada model Kaneshiro suggests a Japanese Johnny Depp, but even his charisma can't carry Returner through its interminable longueurs. Blame it on Yamazaki.
  39. Tame and witless enough to make me long for the ancient, dusty fright kitsch of ''The Munsters.''
  40. ''Kid'' seeks to ''empower'' its target audience of recent Pokémon grads with an adult antihero desperation that feels preemptive and inappropriate.
    • 38 Metascore
    • 33 Critic Score
    Exhibits none of the infectious offhand tastelessness of their hit show and all of the insistent overkill of a Mel Brooks joke gone horribly wrong.
  41. For all I know, Ryan's performance could be a dead-on Kallen impression. But what she appears to be doing is an impression of Johnny Depp doing an impression of Keith Richards doing an impression of Liz Taylor.
  42. The movie is a true folly, yet there's no denying that Gilliam has gotten some of the hallucinogenic madness of Thompson's novel on screen.
  43. Commits the cardinal sin of too many modern movies: It never gives the audience a clue why any of these people were ever attracted to one another in the first place. [30 May 1997, p. 54]
  44. Ultimately, the talented cast -- among them M. Emmet Walsh, Faye Dunaway, Skeet Ulrich, and Viggo Mortensen -- play to their easiest star turns rather than their most interesting strengths.
  45. The film is proof that if you repackage the classics (in this case, Dickens) for the youth market in an era of MTV dislocation, what you get, in essence, is postmodern Cliffs Notes with an alt-rock soundtrack.
  46. A portentous and goopy Dutch drama.
  47. Van Helsing, a fusion of eye candy and brain sputter, is a long, kinetic, yet dreary mess.
  48. The film values quips and declamations over natural conversation (or an explanation of how such intelligent women could have been so blind to world events).
  49. "Species" at least had the benefit of Henstridge's glazed porn-doll perversity, but this time any glimmers of sexual ominousness are buried in a lame, desultory chase plot and in the woefully underimagined special effects.
  50. There's no enjoyably outlandish hiss to this variation on the formula, and no Ice Cube or Owen Wilson, either. This time, a ship of capitalist fools (and no movie stars, unless you count utility player Morris Chestnut as a headliner) steams along the river in Borneo.
  51. Stuart Townsend, Theron's reallife boyfriend, may have inner fires as an actor that have yet to be revealed, but in Head in the Clouds he's a somber puppy who looks as if Theron could eat him alive. I wish she had.
    • 32 Metascore
    • 33 Critic Score
    The experiment didn't work. The English-language production is a jumble of poorly delineated notions about love, celebrity, the look of romantic movies, and the sound of American-style dialogue - and it's been sitting on the shelf for over a year.
  52. But when the writers run out of ideas, they simply have Farley walk into a lamppost, or cop from old SNL skits.
  53. In its hostile sitcom way, Christmas With the Kranks is a paranoid comic nightmare of conformity gone mad.
  54. What's on screen is lazy, second-rate, phoned-in -- a heist in which it's the audience whose pockets have been picked.
  55. If your allergy to comedies bred from British style mugging crossed with Disney style prancing has, like mine, flared up in recent years, this hybrid from writer director Joel Hershman (''Hold Me, Thrill Me, Kiss Me'') will make you wheeze.
  56. Lawrence is so ON that he appears to be gunning for clockwork bursts of audience approval.
  57. Just as all regular models can't be supermodels, so all action chicks can't be superheroines. Elektra Natchios turns out to be walled off rather than mysteriously alluring; blank rather than deep.
  58. It takes the movie all of 15 minutes to descend into sub-Spielbergian banalities about poor Max's search for his absentee dad.
  59. This is strictly substandard stuff, with imitative creepy noises, vertiginous camera angles, and long pauses.
    • 46 Metascore
    • 33 Critic Score
    Its greatest achievement is that there isn't a single convincing scene in it.
  60. Adam Sandler stars in a one-joke Caddyshack for the blitzed and jaded.
  61. A yawn-by-numbers romper-room dud.
  62. Generic hip-hop soundtrack? Check. Aerial stock footage of milieu? Check. Hardy-har homophobia and misogyny? Check. Emasculated sub-Gump white dude played by Jay Mohr? Double check.
  63. The main problem? Raid lacks a center. It's an exhausted sprawl with multiple story foci, none of them terribly compelling.
  64. Too mild to be dirty, yet too dirty to be charming, and altogether too generic to be much of anything.
  65. Most of The Man is as awful as last year's debacle, "Taxi," yet Levy, stuck in a no-brainer variation on Billy Crystal's predicament in "Analyze This," shows just enough noodgy passive-aggression to suggest what the movie might have been were it not shackled to buddy-action clich├ęs.
  66. An Unfinished Life is inert, kaput -- a middlebrow mush of platitudes rather than an okay corral of distinct characters with heartbeats. It's awful not in an exciting, uncontrolled way but in an overly controlled, narcotized way.
  67. Yet Speed 2 is as slow-moving as a garbage scow. Those blinking lights might as well be emanating from a vital-signs monitor. The story is dead in the water.
  68. The director, Nora Ephron, displays her peerless gift for making everything seem snappy and mushy at the same time, and Travolta's performance has a slovenly, I-can-do-anything-and-you'll-still-love-me obnoxiousness.
    • 34 Metascore
    • 33 Critic Score
    What you have is less a sequel to a not-so-bad remake than yet another remake, this one of that not-so-great 1988 John Candy comedy "The Great Outdoors."
  69. A mess -- all high concept, stranded performances, and no laughs.
  70. British director Mike Barker and magpie New York screenwriter Howard Himelstein, have taken "Lady Windermere's Fan" - Wilde's first big stage success, written in 1892 - and pulped it senseless in the name of puttin' on the charm.
    • 24 Metascore
    • 33 Critic Score
    At least London nails the inanity of drug-speak - the bathroom chat quickly devolves from God and ''time horizons'' to coprophilia and a truly dumb confessional tirade by Statham - although perhaps this achievement is unintentional.
  71. A notorious opinion divider last year at Cannes, Battle in Heaven is less about heaven or battle, or hell on earth, or the soul of Mexico, and all too much about gawking. And so, for all the ''shock'' of the movie's clinical carnality, this battle is lost.
  72. Running is a fevered smashup, as if Hollywood dug up Sam Peckinpah's corpse and forced it to adapt "Grand Theft Auto: Vice City" for the screen.
  73. Asia Argento is not what I would call a good actress, but she's a prime specimen of train-wreck sexuality: a debauched Eurotrash starlet who oozes punk cred more than she does talent. It's not too hard to see why she wanted to write, direct, and star in The Heart Is Deceitful Above All Things.
    • 15 Metascore
    • 33 Reviewed by
      Ty Burr
    Carpool is affably stupid Saturday-matinee fare -- good for opiating the kids for a few hours -- but let's just say it's no Big Bully.
  74. Antonio Banderas is a charming and talented man, but in Take the Lead he lays on the old-world panache so thick - the accent, the flowery courtliness, the romance of romance - that he comes off like Dracula's metrosexual cousin.
  75. A few of the images are startling, but as Radha Mitchell (a good actress) wanders through a ghost town, searching for her lost daughter as though she was touring an abandoned movie set, Silent Hill is mostly paralyzing in its vagueness.
  76. Insistently sullen, nihilistic, and successful to the point of smugness at transmitting buzzkill, Art School Confidential is the second collaboration between art-house cartoonist Daniel Clowes and director Terry Zwigoff.
  77. Even in her dullest vehicle, Lindsay Lohan exudes an unfakable shine.
    • 46 Metascore
    • 33 Critic Score
    Gets lost in translation.
  78. You can see what the film was going for, but the jokes just sit there; you chuckle a few times, mostly out of lame hope, but you never bust a gut, never really get what you came for.
  79. Yes indeed, Pirates 2.0 is a theme ride, if by ride you mean a hellish contraption into which a ticket holder is strapped, overstimulated but unsatisfied, and unable to disengage until the operator releases the restraining harness.
  80. Some movies make love look schematic. The Trouble With Men + Women makes those films look stunningly insightful.
  81. At least Ribisi's fake-cojones histrionics are fun. The rest of this "Donnie Brasco" knockoff, with James Marsden as a Gulf War veteran who goes undercover, is a turgid, ketchup-spattered dud.
  82. Burns pads around Gotham, yammering yesterday's op-eds about Disneyfication and ''classic New York holdouts.'' He somehow manages to sound fogyish AND immature.
  83. Terminally muddled crime drama.
  84. The results in Employee of the Month are toothless.

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