Entertainment Weekly's Scores

For 5,176 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 Speed
Lowest review score: 0 The King and I
Score distribution:
5,176 movie reviews
  1. A parent-and-kid-oriented comedy about the adventures of men doing the hard work of mommies, which couldn't be more timely -- or less delightful.
  2. It barely boasts enough funny material to fill four minutes.
  3. This condescending story wastes him (Douglas).
  4. God-awful?Gooding screams out lines like ''I'm about to get in yo' ass like last year's underwear!''
  5. A sodden drama of filial conflict that dares the audience to confuse the characters with the players. P.T. Barnum couldn't have come up with a better hook, but he would have rewarded his suckers with more ''On Golden Pond'' entertainment bang for their buck.
  6. Isn't a movie, it's Gorgonzola, a crumbly summertime stinker veined with pop-cultural fungus.
  7. xXx
    Even in the summertime, the most restless young audience deserves the dignity of an action hero motivated by something more than franchise possibilities. Movies like XXX -- a big 000 -- don't deserve our $$$.
  8. Just when you're sure that Deuce Bigalow: Male Gigolo can't get any less funny, the movie douses the trailer's best gag, as that prosthetic leg turns out to be attached to Deuce's true love.
  9. A tuneless variation on the working girl-captivates-Mr. Big formula that has propelled fairy tales as old as Cinderella.
  10. The wedding, which turns the very concept of ''Greek'' into the sort of hideous, pandering clichés that look rejected from bad Jewish and Italian sitcoms.
  11. Would like to be a Halloween treat, but it's more like a nightmare of blandness.
  12. Just a lumbering, poorly photographed piece of derivative sci-fi drivel, full of grunting extras scampering around in animal pelts and more dank, trash-strewn sets than I ever care to see again.
  13. Is less an end in itself than an excuse, a jumping off point for showy, contrived, borderline exploitation sequences that fail to tie together because they're not really there to do anything but sell themselves as money shot thrills.
  14. Allen is no more convincing than the writer-director, Chris Ver Wiel, who strings together faux-QT, faux-Elmore Leonard clichés like so many necklace beads and pretends that's the same thing as making a movie.
  15. The film squanders every opportunity (and international-coproduction cent) on by now imitative Nine Inch Nails-video-style visual Goth-goo, and, scarily, forgets to input a plot or script that makes any sense.
  16. Jason Lee seems to have been bitten by a vampire who sucked out all his prickly charisma. You see the promise of stardom dribbling through his fingers.
  17. How appealing is Muniz, taking a break from ''Malcolm in the Middle,'' a day job he should by no means let go of?
  18. A desert of shrill juvenile jokes and clanging chase sequences.
  19. Eventually, the senses jam and a mental lube job is in order.
  20. It's no insult to Melville to say that he wrote, in effect, the original ''Dilbert.'' This movie, unfortunately, makes ''Dilbert'' look like Melville.
  21. Another depressingly empty action thriller.
  22. If any of these characters were half as resonant as Wenders appears to think they are, the film might have seemed charming instead of merely stranded.
  23. It doesn't help that most of the jokes (like a rip-off of ''There's Something About Mary'''s dog-in-the-crotch bit) are themselves stolen.
  24. Doesn't contain a single scary or imaginative moment.
  25. It's doubtful that even a real actress could have triumphed over the rusty tinsel of Glitter, a hapless, retro-'80s ''Star Is Born.''
    • 45 Metascore
    • 25 Critic Score
    The action involves lots of second-rate martial-arts choreography (made even less thrilling by the video's pan-and-scan job), while the psychological conflicts are filled with unconvincing angst.
  26. Just because A Walk to Remember is shrewd enough to activate girlish tear ducts doesn't mean it's good enough for our girls. They're willing to buy tickets; why not honor their wits as well as their wallets?
  27. Each man's shtick swells into a frenzy of overacting.
  28. A very low grade romantic drama indeed, a love story with all the life and death intensity of a heat rash.
  29. When Seagal's undercover FBI agent Sascha Petrosevitch waddles into the big house wearing a do-rag and a billowing blue jumpsuit, it's the funniest jailhouse-flick scene since Gene Wilder's white-boy strut in ''Stir Crazy.''
  30. A cheap cut-glass tiara of a booby prize goes to Drop Dead Gorgeous for messing up so utterly.
  31. If, as Fincher has said, this movie is supposed to be funny, then the joke's on us.
  32. Processed comedy chop suey.
  33. Preposterous-for-no-good-reason supernatural tale.
  34. The movie is so littered with clichés of genre, as well as clichés of artifice in Reeves' pained performance, that any semblance of social reality goes foul.
  35. De Niro seems to be reacting to nothing so much as the lame movie he's stuck in.
  36. Pushes and pushes and pushes the emotional throttle without respite.
  37. About as arousing as an icy shower.
  38. Still, there's no mistaking the central message: Slow people have much to teach us. Or is it: Slow people -- aren't they funny? Either way, it's pretty vile stuff.
  39. It's a dismal mess...What's most grating about Hackers, however, is the guileless way the movie buys in to the computer-kid-as-elite-rebel mystique currently being peddled by magazines like Wired.
  40. Describing what's bad about this movie is like describing what's orange about an orange, but suffice it to say that the best performance is given by a crucified raccoon.
  41. Someone (Myers?) came up with the bright idea of turning the Cat in the Hat into the worst Vegas nightclub spritzer of 1958. He's become a furry version of Rip Taylor: a walking, talking vaudeville idiot box.
  42. Isn't up to much of anything besides pretending that swearwords and snot-nosed insults, served up by Santa with an almost institutional monotony, aren't just naughty. They're -- big joke! -- incorrect.
  43. You realize you're watching a snuff film, where the victim isn't just teen innocence but teen romance.
  44. It's a gussied-up sorority-of-rising-stars project produced, I fantasize, by baby-boomer studio guys whose younger spouses articulately defend a woman's right to stay home and raise the kids.
  45. The movie, which strains to be hip in a faux-1985 beat-the-system way, takes such a light view of cheating that it has the ironic effect of rendering the heist that follows utterly innocuous.
    • 31 Metascore
    • 25 Critic Score
    It's tempting to brand the film anti-Semitic, but it's so utterly pointless it lacks even that distinction.
  46. A pretty lousy movie, which would be offensive were it not safely neutered by its own stupidity.
  47. You'd think that the film would ask you to be appalled at this scenario of forced servitude -- but no, it's treated as harmless and cute, like an Israeli ''Chico and the Man.''
  48. The cruddy, shot-in-a-warehouse settings are especially depressing, since the computer-generated special effects seem to be taking place in another movie entirely (a far livelier one). [9 Jan 1998, p. 47]
    • Entertainment Weekly
  49. The United States of Leland is tedious yet infuriating, since its characters, all of whom seem to have emerged from a screenwriter's manual, are like exhibits in a thesis meant to indict the middle class for the crime of its collective dysfunction.
  50. The movie's mortal failing is echoed in the religious medal Pita gives Creasy in a gift of innocent, uplifting love: Finding heft or coherence within all the lugubrious agitation is a lost cause worthy of St. Jude.
  51. A cheaply made piece of ''psychological'' occult schlock, subjects you to that depressing stop-and-go rhythm that defines inept fantasy thrillers.
  52. Leaves you with the dismaying sensation that Levinson, who should probably be off making his own version of ''The Player,'' has instead crafted a comedy of self-loathing, burying himself in a movie that deserves to be Vapoorized.
  53. The movie may be more bogus than a Gucci bag for sale on a Fifth Avenue sidewalk, but at least the backgrounds are real.
  54. If you were looking for an actress to play a tempestuous, schizophrenic movie-slash-rock star, you might go for Courtney Love or Angelina Jolie, or maybe even Jennifer Connelly. But Rachael Leigh Cook?
  55. The only metatwist missing in the twittering self-regard of this indulgent home movie is the participation of a documentary video crew -- ideally helmed by some TV exec's USC-grad son -- shooting the filmmakers shooting the play within the play.
  56. Instead of rooting for Pullman and Fonda, we end up praying that the crocodile is hungry enough to put them out of their misery.
  57. Stripped of the pleasures of terror, flattened of grandeur (with a tacked-on coda that fairly groans with storytelling defeat), the movie sinks from the weight of its own heavyhandedness.
  58. A witch comedy so slapdash, plodding, and muddled it seems to have had a hex put on it.
  59. Has Brian De Palma finally lost his mind? Ever since "Carrie" (1976), his one true masterpiece, this director has evolved into a cinematic serial killer of common sense.
  60. Director Stephen Herek (Mr. Holland's Opus) and screenwriter Tom Schulman (Dead Poets Society) offer no clues, no challenges, nothing to provoke the smallest bubble of curiosity in an audience that waits 40 minutes only to realize Oh, I get it, this isn't going to be Eddie Murphy Funny!
  61. Watching Pecker, his rickety new comedy about a teenage Baltimore shutterbug, it becomes clear that Waters has grown color-blind to his own sleazo-shock aesthetic.
  62. The big climax isn't climactic, just hysterical and incoherent. Murphy, with her bug-eyed, love-me mugging, is simply too slight and gawky to play the Everygirl.
  63. Sends comedy backward in time, and we're in the 1970s, ethno-sitcom style: These Andersons in their out-of-date white, snooty gated community apparently confuse themselves with their forebears on The Jeffersons.
  64. Silver City may be the mustiest political-conspiracy tale ever filmed; it's like "Chinatown" rewritten by Ralph Nader.
  65. Homophobic, sex-phobic, maybe even human-phobic.
    • 55 Metascore
    • 25 Critic Score
    Unfortunately, it's impossible to tell from this confused mess (costarring Jakes as himself) what that message is.
  66. An action-choked dud in which even the closing outtakes barely deserve to be left on the cutting-room floor?
  67. What willful streak of perversity inspired Kevin Costner to take on this wacky tale of a letter carrier-turned-postapocalyptic hero?
  68. This is a deeply unpleasant movie masquerading as a heartfelt social commentary on life in these United States.
  69. Darkness was clearly tossed together like salad in the editing room, since it's little more than the sum of its unshocking shock cuts.
    • 29 Metascore
    • 25 Reviewed by
      Ty Burr
    There's not much else for viewers to do but give themselves over to the whims of the bad-movie gods.
  70. A sodden ''feminist'' vulgarization.
  71. Simply put, it may be the lamest movie ever made about poor white... Southern characters.
  72. Lowest-common-denominator humor.
  73. Feeling Minnesota suggests Sam Shepard trying to be Quentin Tarantino. It makes even gun battles seem pretentious.
  74. By the end, you feel like a drill sergeant-you want to wipe that stupid grin off Sandler's face.
  75. Screenwriter Kevin Williamson (the Scream trilogy), having bottomed out in the horror genre, now dips below bottom (there isn't a line that has his knowing sweet-and-sour zing).
  76. Antal has assembled what may be the single most colorless group of mangy lowlifes I have ever seen.
    • 33 Metascore
    • 25 Critic Score
    State Property 2 is no more three-dimensional than your average brand-name-laden hip-hop video.
  77. Because the script, riddled with verbal ugliness by David Elliot and Paul Lovett, sends the movie to a series of arbitrary nowheres, the final showdown for the Mercer boys and their enemies is just as meaningless and sense-deadening.
  78. So badly told that it ends up dissecting a corruption that exudes from nowhere but itself.
  79. As Brier's comrade-in-lip-gloss, Ashlee Simpson, dressed to look like a teenybop girl version of Crispin Glover in "River's Edge," is the real deal -- in fake cred.
  80. What Emily doesn't do, though -- what this slow-moving, sour, sloppily assembled teen drama doesn't allow her to do -- is make her predicament of any emotional interest.
  81. The loserville teen comedy Underclassman is like a student project sloppily cribbed from other kids' notes -- kids who have seen "Rush Hour" and still can't get over how funny it is to stick a noisy black guy in a distinctly nonblack setting.
  82. A mud-simple horror trudge set in a swamp colony of Abercrombie models.
  83. The movie is trash shot to look like art imitating trash.
    • 33 Metascore
    • 25 Critic Score
    Does a very thorough job of reducing every recognizable member of the cast to probable career lows.
  84. Atrociously scripted and edited.
  85. When a Stranger Calls is ba-a-a-a-c-k, in frightless form, updated for the age of anytime minutes and caller ID.
  86. The movie lacks even the misplaced fervor of obsession. It's lifeless kitsch.
    • 36 Metascore
    • 25 Critic Score
    Jazmin's so fat that the movie reduces her to a single discernible characteristic, which is a telltale mark of many a wholly awful comedy.
  87. The mangy joke in the defiantly homemade documentary 95 Miles to Go is that Ray Romano on a business trip is no different from any other schmo, minus the autograph signing.
  88. Don't let the Carl Hiaasen pedigree fool you: Hoot is an Afterschool Special too crummy to give a hoot about.
  89. Tedious.
    • 41 Metascore
    • 25 Critic Score
    Astonishingly (and offensively), the witless ending comes down harder on the women than the cad.
  90. A glumly serious British mock rock doc: You could forgive the paucity of jokes if Brothers of the Head had anything to say, or if the '70s-vérité surface were remotely convincing.
  91. In a feat of dullness quite powerful in its own way, this lifeless family comedy sucks the joy from every joke it touches.
  92. This dank and rhythmless ''psychological'' potboiler was directed by Jamie Babbit, who made 2000's "But I'm a Cheerleader," and though she has shifted tones from shrill camp to moody angst in The Quiet, she still thinks in stereotypes so thin that they put you to sleep the moment they open their mouths.

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