Entertainment Weekly's Scores

For 6,260 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 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Being Elmo: A Puppeteer's Journey
Lowest review score: 0 Assisted Living
Score distribution:
6260 movie reviews
  1. A joke of a title in search of a movie with a single good joke.
  2. Ryan radiates neither desire nor terror. She's freeze-dried in a world of lifelessly abstract feminine fear, and so is the movie.
  3. A movie so unhinged it practically dares you not to hate it.
  4. Oooh, this is toxic.
  5. So perfect in its awfulness, it makes one seriously consider a theory of unintelligent design.
  6. This remake is merely vile (and dull).
  7. She Hate Me manages to be at once racist, homophobic, utterly fake, and unbearably tedious. This time, it's Spike Lee who's doing the bamboozling.
  8. It appears to have been modeled on the worst revenge-of-the-nerds clichés the filmmakers could dredge up.
    • 16 Metascore
    • 0 Reviewed by
      Ty Burr
    Debased swill.
  9. Even Snow Day's winter wonderland looks fake.
  10. Being Human doesn't seem to be about anything: Its five astonishingly limp parables might have been spun by a depressed Aesop who forgot to take his Prozac.
  11. The film treats its audience like fidgety junior-high schoolers, piling on the sub-Koyaanisqatsi cityscapes and cheesy episodes with Marlee Matlin as a lonely photographer, plus bouncy cartoons of human cells who look as if they'd be happier chasing stains in bathroom-cleanser commercials.
  12. It's a shrill, stupid, brickbat-blatant piece of hackwork that practically sweats to be ''commercial.''
  13. What sin did Heather Locklear commit to deserve her role in The Perfect Man?
  14. To dismiss this movie for being ''offensive'' would be to offer it high praise.
  15. A half hour in and still, the plot, tone, and setting are incomprehensible.
  16. Benigni's Pinocchio is meant to be adorable, but he comes off as less an enchanted puppet than as a harmlessly deranged middle-aged man prancing about in the kind of froufrou cream-colored pantsuit that Dinah Shore retired to her back closet in 1977.
  17. In one rotten production -- all involved have managed to create the most unlikable, man hating, woman hating, unfunny idiots since ''Whipped'' ended up on worst movie lists last year.
  18. A stinker, the more so for the thespian excesses of the accomplished cast.
  19. The only thing shocking about it, however, is the degree to which self-congratulatory gutter exhibitionism has become the degraded ash end of indie ''edge.''
  20. The picture is so lethargic that I began to think of watching it as a form of atonement.
  21. It might be courting hyperbole to call Corky Romano the single worst movie ever to feature an ''SNL'' cast member (Dan Aykroyd hit some pretty arid valleys), but I'm willing to go out on a critical limb and rank it among the all-time bottom dozen.
  22. A magical-realist sitcom war farce that ends up being about nothing but its own slovenly smugness.
  23. Parts of the film play like the world's slowest and most insensitive reality show (Who Wants to Be an Octogenarian?).
  24. Fragmentation can be an artful method; it can also be the last refuge for someone who scarcely knows how to make a film. In the no-budget fantasia Wild Tigers I Have Known, the fragments are like a borrowed collage of gay coming-of-age tropes.
  25. Mr. Magorium, who is 243 years old (so are his jokes), is a cross between Willy Wonka and Geppetto, but Hoffman plays him with little more than a goofy dumb lisp, achieved by tucking his lower lip under his upper teeth, so that he looks just as rabbity-stoopid as he sounds.
  26. This ill-fitting movie was mail-ordered from an out-of-date catalog of teen-com stereotypes.
  27. Poisonously smug, one-joke indie comedy.
  28. Far be it from me to dismiss a man's effort (Uwe Boll) in a sentence, but the film on your teeth after a three-day drunk possesses more cinematic value.
  29. Top-heavy with whimsy, so muddled it makes Mission: Impossible look like a model of narrative cohesion, The Saint is the apo-theosis of the new incoherence, with the cliches of espionage and action thrillers jammed together like bumper cars.

Top Trailers