Entertainment Weekly's Scores

For 5,966 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 I Love You, Man
Lowest review score: 0 Molly
Score distribution:
5966 movie reviews
  1. While it won't win any Oscars, Matthew Cooke's new documentary How To Make Money Selling Drugs may take the prize for being the shallowest and most glib film of the year.
  2. In the face of such junk, the idea that Fox would proudly put himself on a punishing regime of severe diet and exercise to get prisoner-skinny-yet-crazy-muscled for the job of make-believe is vanity at best, obscenity at worst.
  3. If, as Fincher has said, this movie is supposed to be funny, then the joke's on us.
  4. It all makes you want to see a Bollywood movie, all right -- a good one.
  5. 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).
  6. When a Stranger Calls is ba-a-a-a-c-k, in frightless form, updated for the age of anytime minutes and caller ID.
  7. Sour, sadistic, and stale from sitting on the shelf since the pre-''XXX'' era -- an era I'm starting to miss.
  8. Silver City may be the mustiest political-conspiracy tale ever filmed; it's like "Chinatown" rewritten by Ralph Nader.
  9. It’s a comedy that’s so witless and unfunny and shoddily made it makes "The Hangover 2" look like "The Godfather 2."
  10. Tedious.
    • 36 Metascore
    • 25 Critic Score
    Atrocious sequel.
  11. Chatwin comes off as prickly and annoyed -- they should have called this "Perturbia."
  12. This garbled American remake of Takashi Miike's already staticky 2004 exercise in J-horror is a wrong number.
  13. Except for the relentless, jittery way that the film has been photographed, there's nothing of interest going on in it. It's all fractious guerrilla-newsreel "style" masquerading a void.
  14. Another racial cartoon buddy movie that eagerly flogs its best laugh -- indeed, its only laugh -- in the trailer.
  15. 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
  16. Criminal’s story moves like a fat cow. Costner and Oldman’s characters are sluggishly chasing after — irony alert! — a big black duffel back full of $100 bills, hidden behind a stack of George Orwell books.
  17. Lowest-common-denominator humor.
  18. 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.
  19. Lake and Fraser never come close to believability as a romantic couple. There's more chemistry going on in a grain of salt.
  20. This is a deeply unpleasant movie masquerading as a heartfelt social commentary on life in these United States.
  21. Viewers' own evenings, meanwhile, will likely be ruined by unimaginative direction, inane dialogue, and Schaech's passing resemblance to Forrest Gump.
  22. A far-below-par thriller that desperately wishes it were a different movie - a longing it shares with the audience.
  23. 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.
  24. Paul Blart: Mall Cop 2 does all it was created to do: exist.
  25. It's one of those stultifying aftermath-of-
a-car-crash movies.
  26. Don't let the Carl Hiaasen pedigree fool you: Hoot is an Afterschool Special too crummy to give a hoot about.
    • 33 Metascore
    • 25 Critic Score
    Get Lucy Liu better roles!
    • 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.
  27. A lumpy and laughless farce from writer-director Steven Brill (Drillbit Taylor, Little Nicky), a man who never told a joke he couldn't ruin.
  28. It's doubtful that even a real actress could have triumphed over the rusty tinsel of Glitter, a hapless, retro-'80s ''Star Is Born.''
  29. I wish I could say that the film is half as intriguing as it sounds, but A Woman, a Gun... lacks the Coen brothers' precision, their diabolical game-board cleverness. It's a remake in shaggy outline only.
  30. Simon Pegg has what it takes, but he's saddled himself with a script (co-written by Pegg and Michael Ian Black) that Adam Sandler wouldn't have pulled out of his bottom drawer.
  31. Starts out as a neo-Pygmalion comedy, but the film is slow, earnest, and rhythmless.
  32. The thin story has been stretched like Silly Putty to feature-film length and the result is utterly see-through in its sledgehammer moralizing.
  33. In terms of content and meaningfulness, Terrence Malick’s Song to Song is the cinematic equivalent of a Trump press conference. Incoherent, disconnected, self-interrupting, obsessed with pointless minutiae and crammed full of odd, limp stabs at profundity from a closed-off man in his 70s who apparently has no ability to edit or accept constructive criticism.
  34. 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.
  35. 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.
  36. Stops time, all right -- it stretches 94 minutes into something that begins to feel like infinity.
  37. An awful, stillborn comedy assembled out of rusty spare parts from secret agent movies and run-of-the-mill ''Saturday Night Live'' skits.
  38. It's a toss-up as to what's the worse sin in this graceless piece of tragedy porn.
  39. The hilarious diminuendo of that title is such that the movie might as well have been called ''Wes Craven Presents: Not a Hell of a Lot.''
    • 27 Metascore
    • 16 Critic Score
    By appearing in The Suburbans, a stunningly laugh-free comedy, (Jennifer Love Hewitt)'s already gotten her career-worst movie out of the way.
  40. When you watch this failed horror thriller -- which has been under studio doctors' care for some two years, undergoing futile title changes and reshoots -- there's no respite from the odor of flop sweat stinking up the screen.
  41. Watching these videos of actual cats, all of whom have racked up countless views on YouTube, just serves to underscore how unfunny and neutered Nine Lives actually is.
  42. This is the rare horror film so bad that you almost wish it had turned into a good old connect-the-gory-dots slasher movie. The only mystery at work is how Lawrence's agent ever let her sign on to this.
  43. Terminal colon cancer has never looked more fetching than in the critically ill romantic-disease comedy A Little Bit of Heaven.
  44. A Scottish weepie of such bathos and balderdash that it deserves a drinking game in its rotten honor.
  45. The definition of aiming low is when the John Hughes film you're ripping off is ''Weird Science."
    • Entertainment Weekly
  46. Maybe the worst thing that can happen is that every other movie at the multiplex will be sold out this weekend.
  47. Here's a sobering thought: If every war gets the comedy it deserves, could Delta Farce, a strenuously unfunny "Three Amigos" knockoff, be our M*A*S*H?
  48. Under the direction of Entourage's Mark Mylod, the movie not only makes cheap sex jokes but looks skanky, too. Lighting, camerawork, and editing are all a slapdash mess, one that further hinders the actors trying their best to get through this failed hookup of a comedy.
  49. A crude, silly supernatural thriller.
  50. The cast itself is weirdly overqualified.
  51. You will still be astonished by how flat-out awful it is.
  52. The movie wants so badly to be mentioned in the same breath as "Heathers" or "Election" that it's not even funny. Really, I mean it, this charred-black comedy is not even funny.
  53. Shainberg reduces this most disturbing of all photographers to a portraitist of Halloween.
  54. The third helping of ''American Pie'' offers little more than crumbs. Half the franchise's core cast (including Mena Suvari, Chris Klein, and Tara Reid) chose to skip the big fat geek wedding.
  55. All I know is that something has gone terribly, drum-beatingly wrong in Congo (Paramount, PG-13), and you can sense Jungle Trouble brewing from the git-go.
  56. To a character, every man in this faux-homey burg has been castrated! They're all impotent buffoons!
  57. An appreciation that the pain is personal doesn't compensate for the picture's self-absorbed need to alienate.
    • 24 Metascore
    • 16 Critic Score
    Videogames are no longer brainless, so why are videogame movies so slow to evolve?
  58. Schaeffer's howler of a romantic comedy, which presents itself as a valentine to Clayburgh even as it keeps dreaming up fresh ways to humiliate her.
    • 26 Metascore
    • 16 Reviewed by
      Ty Burr
    It's nearly unwatchable, a farrago of confusing direction, stupid plot coincidences, and banal dialogue.
  59. Angel-A shows how director Luc Besson can be French in a way that even the French might despise...Quel ick. And très tedious.
    • 17 Metascore
    • 16 Critic Score
    It's not "Clueless," just clueless.
  60. Darkness Falls is like something salvaged from Stephen King's wastebasket.
  61. Don't be fooled by the low grade: This sequel-in-spirit to Jean-Claude Van Damme's 1994 dud doesn't even succeed in being memorably bad.
  62. Becomes yet another lame sports farce.
  63. Serves up the sort of shrill ''satire'' of middle-class Jewish vulgarity in which the mere mention of words like ''brisket'' and ''klezmer'' is automatically presumed to be hilarious.
  64. Selma Blair, the one vibrant actress in a cast of colorless screamers (including Tom Welling from Smallville and Maggie Grace from Lost), takes Adrienne Barbeau's old role.
  65. Spectacularly poor judgment in everything from acting to costuming (Olsen's Harajuku-troll get-up is scarier than her curse) puts Beastly right on the cusp of the so-bad-it's-good Hall of Shame.
  66. Horror standbys like mangled corpses and stone-faced children pop up regularly, but sibling directors Charles and Thomas Guard haven't quite nailed the genre's rhythms.
  67. An aggressively inept demon-seed chiller starring a bunch of grown-ups who should've known better.
  68. Ultraviolet, warns someone, ''Don't overthink it.'' Sage advice for anyone masochistic enough to watch this pile of poorly pixelated vampire poo.
    • 32 Metascore
    • 16 Critic Score
    A painful comedy that reduces the "Garden State" star to pratfalls while many comic A-teamers around him (including Paul Rudd and Amy Adams) play idiots.
  69. The movie, a shoddy mess, is a bargain-basement rip-off of ''Ronin."
  70. An appalling, jaw-dropping movie that will cause serious nightmares.
    • 35 Metascore
    • 16 Critic Score
    In Resident Evil: Apocalypse, the undead are back to stumbling in the dark, sometimes even in blurry slo-mo, making the many packs of them about as terrifying as the mobs waiting for Matt and Katie outside the "Today" studio.
  71. The jokes are flaccid, the acting is stiff, and the whole idea is such a boner, you have to wonder if the writer was missing another critical organ when he came up with it.
    • 44 Metascore
    • 16 Critic Score
    Miracles From Heaven stands firm atop a sloppily made case for faith over logic and spirituality over science, and for that, it’s challenging to view as a film instead of judgmental ideology in cinematic drag.
  72. Wes Craven's first new movie in five years is a brainless, joyless, and yes, you might even say, soulless teen slasher.
    • 19 Metascore
    • 16 Critic Score
    Cobbled-together teenybopper tripe.
  73. Each actor appears to have received the script to a different movie, while Allen adds his own directorial touch of sexual vulgarity.
  74. Ed
    Some things are funnier than a barrel of monkeys. Most things, frankly. And anything is funnier than Ed.
  75. With more telegraphed scares than Samuel Morse on Halloween, it still might give you a restless night, but only because you fell asleep in the theater.
  76. The Punisher is a moronically inept and tedious piece of death-wish trash.
  77. The audience may have bought the act in "Napoleon Dynamite." But this time, the act bombs.
  78. Unless you’re Kevin Smith, don’t expect Yoga Hosers to be funny or clever or well directed. It isn’t for you.
  79. While it's rarely scary, the film is often gory.
    • 28 Metascore
    • 16 Critic Score
    Stuffed with stock characters -- the vain prince, the critter sidekicks -- who adamantly stay stock.
  80. It has that vintage Polish pace, their signature arch pomposity and rhythmless weirdness, only this time the brothers had to go and make a cosmic allegory of American dreams.
  81. Confined to just a few sets, the movie is like the pilot for a sitcom you never want to see. Yet Ephron seems to think she's making a feel-good holiday classic: She floods the soundtrack with old pop versions of Christmas standards, trying to render stale comedy appetizing by drenching it in syrup. [23 Dec 1994, p.50]
    • Entertainment Weekly
  82. The result is a dead pile of information in search of a movie.
  83. The Zodiac has been made with the dunderheaded flatness of bad '70s TV.
  84. Fragmented and monotonous, without a semblance of the gymnastic cleverness that at least made the first Mortal Kombat film into watchable trash, Mortal Kombat Annihilation is as debased as movies come.
  85. Nothing in Imaginary Heroes rings true, least of all a plot that lightly combines domestic abuse, adulterous pregnancy, teen bisexuality, job abandonment, and a possible case of Mysterious Movie Disease. These are not ordinary people. Or real ones.
  86. The gimmick in The Abandoned is that people battle their zombie doubles, whom they can't kill, since they'd be killing themselves. But the movie sinks so deep into deathly atmosphere that there's no life to it.
  87. In theory, A Thousand Words should draw on its star's abilities as a physical comedian, but Murphy, miming his order for a triple latte at Starbucks, comes off like Charlie Chaplin on crystal meth; he's strenuously unfunny to watch.
  88. Witless, insultingly derivative, muddy-looking, and edited in the hammering epileptic style that marks so many films produced, as this one is, by Michael Bay.

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