Entertainment Weekly's Scores

For 6,016 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 Munich
Lowest review score: 0 Assisted Living
Score distribution:
6016 movie reviews
  1. Andy Garcia reminds you of what a cunning, likable actor he can be.
  2. If Minions were a toy, you’d hide its batteries.
  3. For two and a half hours, Edel lays out the bombings, kidnappings, and murders committed by the Baader-Meinhof group, which mutated into the RAF. He catches the violently delusional self-righteousness of their antifascist fervor, but as individuals these cultish guerrillas remain opaque.
  4. The Promotion edges toward some pretty bleak stuff. Then it steps back and laughs, like an office slacker.
  5. As the reigning inhabitant, Redgrave adopts the swanning gestures of Maggie Smith in this mild adaptation of a Maeve Binchy story.
  6. And when [Roberts is] on screen with Mulroney, who seems a frat-house jerk -- all dimples and a perma-tan -- we don't feel much of anything.
  7. In My Country doesn't so much explore as use the tragedy of black South Africa to give its heroine a righteous slap of nobility.
  8. With no baseline ''truth'' to be found among the cartoony characters and cheesy twists, the whole production feels like a Texas-size load of secondhand lyin'.
  9. Cop Car feels like a great short stretched into a mediocre feature.
  10. It's all way too heavy-handed, though nicely acted by Hirsch, Culkin, and, especially, Jena Malone.
    • 36 Metascore
    • 58 Critic Score
    Without fail its upbeat cheesy wholesomeness is always good for a smile.
  11. Beyond is more fun than deep. It’s lightweight, zero-gravity Trek that is, for the most part, devoid of the sort of Big Ideas and knotty existential questions that creator Gene Roddenberry specialized in.
  12. The sexy, scruffy, neo-Warriors pageantry of ghetto teen hunger would have been a lot more vital if Clark didn't have such a class-war chip on his shoulder.
  13. An overdeveloped coming-of-age potboiler.
  14. Couldn't Mike Judge, with his acid wit, have come up with a better title for a suburban-schlub comedy than ?Extract?
  15. A weakly scripted shambles.
  16. Ellis (The Good Wife's Graham Phillips), an alienated teen, smokes weed and hangs out with a goat-obsessed, pot-cultivating surrogate father (David Duchovny, hidden by hair). New Age details aside, though, Ellis is easily identifiable as a distant cousin-by-genre to J.D. Salinger's Holden Caulfield.
  17. The whole thing’s ludicrous, down to the last loony twist, but it’s also a lot more fun than Batman v Superman.
  18. Only Radcliffe escapes unscathed, lending Igor a convincing psychology despite the ham-fistedness of the material. But he’s not enough of a reason to resurrect this story again.
    • 33 Metascore
    • 58 Critic Score
    Too bad, because until it essentially turns into a medical-thriller version of "Look Who's Talking," the movie hums along comfortably enough as slick B fare.
  19. Russo-Young studies the strange species of affluent Angelenus erectus under a microscope that distorts every character into unbelievability.
  20. Hancock can revel in schmuckery, of course, because you and I and cute kids and peaceful oldies worldwide know in advance that there's no way on Hollywood's green earth Will Smith will ever play someone seriously, dangerously unsavory.
  21. The charms of Evans (from 1995's oddball Funny Bones) and Lane (who's at his best playing to the balcony) are lost in all the detailed hubbub.
  22. And although director Paul Anderson treats the story with appropriate deadpan respect, there are enough sparks of humor (particularly generated by Linden Ashby as a shallow martial-arts actor who worries that he's a fake, with good reason) to amuse the adults accompanying the 10-year-old boys in the audience.
  23. Isn't incompetent; it's just plodding and obvious. If anything holds it together, it's The Rock's ironic ability to tread lightly, which the movie is neither fast nor inventive enough to recognize as different from the spirit of Arnold.
  24. Offers tricky fragmentation without mystery or mood; it's a mosaic of fear that grows less and less unsettling as it comes together.
    • 52 Metascore
    • 58 Critic Score
    While not necessarily a diamond-in-the-rough itself, Central Intelligence proves that Johnson has always been at the center of his own ring, in more ways than one. It just took the rest of us (and Hollywood) a little longer to notice.
  25. Even though Bullock engages in a climactic scene of blue-screen peril, she essentially cedes the match to the kids. In this mediocre murder case, their presence is the only thing that's really killer.
  26. There’s some chuckleworthy meta-commentary about the absurdity of sports movies, but Balls Out feels more like a long sketch than a feature.
  27. However admirably Minghella urges a break from complacency and an entry into a state of local/global compassion, his characters are position holders rather than people.

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