Entertainment Weekly's Scores

For 6,019 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 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Lebanon
Lowest review score: 0 Annabelle
Score distribution:
6019 movie reviews
  1. Mostly preposterous, and it has no dramatic center, but the racing scenes hold you in their death-trip grip.
  2. The voices of Liam Neeson -- as the film's narrator -- and his late wife, Richardson, inevitably add to the project's poignance.
  3. That everything gets worked out -- friendship affirmed, jokes made about silly magazine articles on reeling in a boy -- is as sure as the soundtrack's inclusion of a Mandy Moore song.
  4. Dominic West (The Wire) plays a facially mutilated Mob boss as if he's in a broad SNL sketch.
  5. By the time the movie finally manages to get interesting, audiences may be too numb and their retinas too fried to win back.
  6. Little Man Tate keeps introducing characters and narrative lines that seem promising, but it doesn’t sustain them. The movie feels like three Afterschool Specials welded together.
  7. Pooh's Heffalump Movie is a harmless little ''ex-po-tition'' (to use a Pooh-ism). Still, making this your kids' first Pooh experience would be like weaning them on New Coke.
  8. It doesn't quite wash. Guédiguian has a telling instinct for the buried shame of working-class squalor, but his film is inflated with a doom that feels programmatic rather than earned.
  9. It would be nice to see a sharp, funny, penetrating satire of the new, kicked-up culture of empty media fame, but Tom DiCillo's scattershot buddy movie Delirious isn't it.
  10. We Are Marshall has little of the bone-crunchingsincerity of the recent pigskin rouser "Invincible." This one is more like Unconvincing.
  11. Predestination's pace is too slack, and the brothers are so painfully tentative as storytellers that the easily guessed big twist gets three separate reveals.
  12. It's a canned clip reel of Heartwarming Sports Comedy, intermittently redeemed by its easygoing boomer vibe. And at its center is the redoubtable Bernie Mac, nicely aged, as he says, ''like USDA beef.''
  13. The depiction of Guantánamo Bay as a banal, ugly hole of a place waiting to be condemned makes for a compelling first half hour in this military drama.
  14. Basically a nifty VFX reel in search of a plot.
  15. What is surprising is how little Polanski juices the material with his usual devilish touch.
  16. A boxing film with no conflictual punch.
  17. Part punk-drab British art-house portrait of underclass despair, part bloody vigilante pic, Harry Brown is shakily held together by industrial-strength sound design and the expertly employed theatrics of Michael Caine in the title role.
  18. It only makes you wish for the unintellectual bodice ripper that the movie should have been.
  19. Déjà Vu is watchable trash, meticulously edited in Scott's skip-stutter style, but there's something ultimately unsatisfying about a thriller that more or less makes up its rules as it goes along.
  20. Fitfully amusing, mostly annoying rom-com.
  21. Maybe this well-loved Luke is who his neighbors want him to be, a good fellow who, with his father, reopens the old movie house in town -- the Majestic -- thus allowing his neighbors to dream in the dark again.
  22. A strange history lesson that leaves us more overlectured than properly overwhelmed.
  23. The one valuable prize for audiences in this war pic Cracker Jack box is Jude Law. Once again the talented Mr. Law makes more of a role than most movies know what to do with.
  24. A pretty average siege thriller. I’m positive there’s an audience for an Old West tale about fierce, independent women. I’m equally positive it can be done better.
  25. It's tempting to say that Mamma Mia! has the worst choreography of any big-screen musical in history, though that would imply that what happens in the film IS choreography.
  26. Adorable or what?
  27. A handful of adrenalizing sequences of animated anarchy can't save this story from feeling overly primitive.
    • 55 Metascore
    • 58 Reviewed by
      Ty Burr
    If you can stagger around the plot holes (how'd a Brazilian cargo ship with a dead crew get to Lake Michigan?), the last 30 minutes are pure, dumb monster-movie fun.
  28. Instead of trying to adapt the video game experience into a film format, Kingsglaive transforms the movie-going experience into something familiar to video game fans. It’s essentially a really long cutscene.
  29. Thing is Woody Allen on a third-grade reading level. Neurosis abounds, but awareness doesn't, and certain ''jokes'' demand additional therapy.

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