Entertainment Weekly's Scores

For 5,693 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 3.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The King of Kong: A Fistful of Quarters
Lowest review score: 0 The Comebacks
Score distribution:
5693 movie reviews
  1. 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.
  2. Bucky Larson is a one-note joke played over and over and over.
  3. Aa shockingly chintzy spin-off of Fox's post ''Pokémon'' cartoon hit.
  4. Has a topsy-turvy sense of injustice.
    • 30 Metascore
    • 25 Critic Score
    There’s bad, and then there’s offensively bad.
  5. 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.
  6. The most irritating thing about Hoffa is that even after you've sat through Danny DeVito's turgid, meaninglessly sprawling account of the Teamster boss' rise and fall, you still won't have any idea who Jimmy Hoffa was.
  7. Kate Hudson is as blah and dazed as her costar is cloyingly enthused. If it's possible to have too even a tan, Hudson in Fool's Gold would be the poster child for it.
  8. A cheap cut-glass tiara of a booby prize goes to Drop Dead Gorgeous for messing up so utterly.
  9. 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.
  10. The morality of revenge is barely at issue in a movie that pushes the plausibility of revenge right over a cliff.
  11. The thinnest, draggiest, and most tediously preachy of the Saw films.
  12. 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.
  13. Mostly about slapping together a bunch of clichés -- outdated clichés at that -- regarding the loneliness of ambitious women.
  14. The music screeches, the actors vamp, the knives and weapons and bombs and fireballs fly around the screen. Meanwhile, the well-prepared moviegoer slips into her or his own private fantasy of a world in which movie effects are themselves locked away in an institution for the criminally insane until such time as those effects are really, truly necessary for the story.
  15. A failing-grade comedy about the wishful triumph of high school dorks over high school bullies.
  16. A shoddy special-effects howler that makes a hash out of both Egyptian mythology and human logic.
  17. While George Lopez, Cheech Marin, and Paul Rodriguez are funny men, it's amazing how boring these Latin-shtick cutups can be when none of them gets a single good line.
  18. The result is a sub-"Saw" knockoff that manages to be brutal yet monotonous, not to mention monstrously unpleasant.
  19. Simply put, it may be the lamest movie ever made about poor white... Southern characters.
  20. A painfully miscast Parker nervously flips her hair and waves her hands, sitcom-style, as a do-gooding dean of students.
  21. A mud-simple horror trudge set in a swamp colony of Abercrombie models.
  22. Writer-director-stars Zach Cregger and Trevor Moore, of the Whitest Kids U'Know, here prove the crassest, most maladroit moviemakers you know.
  23. As for the splendid Spaniard Javier Bardem, now knocking socks off in "No Country for Old Men," his lot is worst of all. He's miscast as the romantic Florentino.
    • 21 Metascore
    • 25 Critic Score
    The animation already looks dated, and it feels as lazy as the bland narrative.
  24. A pretty lousy movie, which would be offensive were it not safely neutered by its own stupidity.
  25. 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.
  26. Kollek is a fringe auteur who makes independent films the old fashioned way: no budget, static camera, a script that telegraphs its tiny, paste gem ironies.
  27. Nothing in John Carter really works, since everything in the movie has been done so many times before, and so much better.
  28. An unintentionally ludicrous drama of repentance.

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