Entertainment Weekly's Scores

For 5,466 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 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Poetry
Lowest review score: 0 The Hottest State
Score distribution:
5,466 movie reviews
  1. As a lissome art restorer, Asia Argento (the director's daughter) comes off as the sanest human on screen, which is pretty scary.
  2. The new movie is an opulent-bordering-on-hysterical mass of chitchat and chase scenes.
  3. It's a romantic noir chase thriller made in the violently schlocky spirit of Sam Peckinpah's "The Getaway."
  4. Gracious, if meandering.
  5. In his curdled-butterball way, Jiminy Glick may be the most acidic showbiz send-up since Andy Kaufman's Tony Clifton. This movie, though it has its moments, is a pedestal he didn't need.
  6. There’s nothing remotely original about the premise, and jokes about prostates feel more pandering than funny, but the leads make this dumb romantic caper watchable.
  7. The premise, the structure, and the men-at-twilight conversation in Patrice Leconte's ingratiating drama feel cloyingly predetermined at times, but the sight of Hallyday and Rochefort luxuriating in their contrasting manly personas is a kick.
  8. There's nothing not to like about the movie, a teensy, hand-crocheted trifle, fitted with embroidered pockets of guest stardom, including Mia Farrow as the nice local lady who wants to see what "Ghostbusters" is all about and "Ghostbusters'" own Sigourney Weaver as a movie-studio corporate meanie, ha-ha.
  9. The best reason to see Melinda and Melinda is Radha Mitchell, who has her grabbiest role (or two of them) since she broke through with "High Art."
  10. The movie is disappointingly flat-footed about both rock and journalism, and its shaggy plot sheds logic as it goes. Still, the actors are excellent; they’re triple crème slathered on an odd little undercooked biscuit of a script.
  11. The depth of the story and the characters is awfully slight to bear the weight of such fancy editing. But the performances are crisp and in focus, with Cox in particular showing a photogenic feel for expressing grief.
  12. Del Toro lays on the operatic head-trip gore, but his heavy-handed embrace of the ''Blade'' mythology allows Wesley Snipes to give more of a performance than he did in the first film.
  13. The premise of the short-story-size comic thriller Don McKay is as thin and crumbly as a corn chip.
  14. Ritter, who's like the young Ethan Hawke on a bender of violence, is an actor to watch.
  15. Madea is still a witty character, but the gutter wisdom of her tossed-off verbal hand grenades can’t shock us anymore; even the outtakes that play through the closing credits feel like reruns.
  16. The Lucky Ones isn't dull, and the actors do quite nicely, especially McAdams, who's feisty, gorgeous, and as mercurial as a mood ring.
  17. Cyrus, as always, is a professional charmer (it's hard to resist when she leads a hip-hop hoedown), and the crusty folkiness of Billy Ray Cyrus as her real-life dad is as welcome as ever.
  18. The film has lots of energized mayhem, and Murphy's unraveling of the conspiracy against him isn't dumbed down, yet it's as if the comic-book action poetry of the original has been encased in a suit of generic armor.
  19. When the lights come up, you don’t want to feel like you’ve watched a ­better Cliffhanger. You want to understand the tragedy you’ve just watched. Yes, you want to be entertained, but you also want the icy, whipping wind of reality to sting.
  20. A bit of a clone itself, but it's got a crackerjack helicopter chase, a semblance of a script, and a sotto voce performance by Robert Duvall as a biotech genius who murmurs sweet nothings to his dying cloned wife.
  21. The Clearing is what's known in the biz as an alternative for adult moviegoers. Which is to say the film is a performance-driven drama devoid of special effects and loud noises. On the contrary, it's a meditation on midlife weaknesses and compensation.
  22. For a movie like Wrath of the Titans, which is basically "Gladiator" crossed with "Lord of the Rings" crossed with a special-effects demo reel (call it Lord of the Rinky-Dink), he's (Worthington) the perfect actor.
  23. In a sense, Pacific Rim winds up being not enough of a Guillermo del Toro movie. It's more like a mash-up of "Real Steel" and the "Transformers" pictures. Which is a shame, because the idea is undeniably cool.
  24. I can't say that I've ever entertained fantasies of writing on someone's body. But Peter Greenaway's The Pillow Book (Cinepix) does, at least, succeed in making it look like an erotic activity.
  25. Donovan, acting with ironic reserve, hands the movie to Morse, who makes his character the kind of crank you can care about just because he's so abysmally lost.
  26. Natalie Portman demonstrates tour de force weeping in the back of a taxi as an American searching for her roots in Israel.
  27. Director Jon Turteltaub has fun with Indian glyphs, giant stone pulleys, and an Indy Jones-worthy City of Gold located beneath the rocky shoals of Mount Rushmore.
  28. Sometimes clever and enjoyable, even touching, yet too often the film makes you feel as if you're in Sunday school.
  29. The future-shock details are witty, the sets and skyscapes spectacular. Besson may not be a good director, exactly, but he's a wizard at retrofitting cliches.
  30. As computer-generated special effects have grown more advanced, they threaten to overwhelm such minor matters as story, character, and emotion. This, however, is not a problem in Flubber (Walt Disney), an agreeably unhinged slapstick jamboree.

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