Entertainment Weekly's Scores

For 6,080 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 Lincoln
Lowest review score: 0 Ace Ventura: Pet Detective
Score distribution:
6080 movie reviews
  1. When it stays in the classroom, Detachment is a scrappy testament - to the futility of even trying to reach students who are cut off from the possibilities of knowledge, and to the way that our teachers are slowly being driven nuts.
  2. Imagine two movies...The first is a moody thriller about two brothers who pull off a bank job, take a family hostage, and head for Mexico. The second is a garish horror freak-out. The deranged hook of From Dusk Till Dawn is that it starts out as the first movie and turns, on a dime, into the second.
  3. Watching Running With Scissors the movie instead of reading Running With Scissors the best-selling memoir by Augusten Burroughs is like running with a spatula, or maybe some weird toast tongs.
    • 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.
  4. A chaste and tepid remake of a 1950 British comedy.
  5. A haunted-house movie that has some of the most shivery and indelible images I've seen in any horror film in decades. Yes, it's that unsettling.
  6. Jeff Prosserman's riveting documentary takes a question that haunted the Bernie Madoff scandal - how did he fool everyone for so long? - and answers it with a decisive "He didn't."
  7. Showcases a trio of terrific performances.
  8. This charming, if unnecessarily coronation-length production gets the duckling-to-swan ambivalence just right.
    • 52 Metascore
    • 67 Critic Score
    Hopelessly clichéd.
  9. Rodrigo Santoro (Paulo on Lost, Xerxes in 300, and even better, Raúl Castro in Che) is mighty matinee-idol charismatic himself in the title role, alternating between swaggering lady-killer and ravaged victim of self-destruction.
  10. I'm not sure what it all adds up to, but The Devil's Double puts its hooks in you and keeps them there.
  11. Breaking Dawn - Part 2 starts off slow but gathers momentum, and that's because, with Bella and Edward united against the Volturi, the picture has a real threat.
  12. Is it possible to sit through a movie, mentally cataloging its absurdities, and still walk out dazzled? Because that pretty much sums up my experience watching Ridley Scott's eye-candy spectacle Exodus: Gods and Kings, an over-the-top Old Testament epic that's essentially Gladiator with God.
  13. Korine remains unnecessarily smitten with sordidness, and there's plenty of it here.
  14. The loveliest moments put both politics and theatrics aside, conveying the strange beauty of a hard life involving little else than fish, water, and gray sky.
  15. The two XXL personalities are in fit, fighting form in a comedy as bracing and furiously right for the moment as it is broad and huggable.
  16. Has my eye, seduced by the devious and tactile delights of ''Shrek,'' already evolved in tandem with the technological leaps in computer animation? Or is Atlantis simply a Disney dud?
  17. 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'.
  18. A melancholy romance that has the distinction of being the first film set among San Francisco dotcommers that knows it's about the end of the boom.
  19. The film coasts on its time-capsule fetishism and affable supporting turns from Susan Sarandon and Lea Thompson, but it never achieves the emotional punch of like-minded comedies such as "Adventureland" and "The Way, Way Back."
  20. If this is what it sounds like when a new millennium goes pop, I'll take it.
  21. 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.
  22. If you take the film on its own terms, as a kind of Elvis movie dipped in guacamole, it's quirkily engrossing. Ferrell is a good straight actor for the same reason that he's an inspired comedian: He commits himself to every moment.
  23. Hook is jam-packed with ''entertainment value,'' enough to give you your money's worth, and to guarantee (in all probability) that Spielberg earns his. Yet something has clouded this director's vision... The problem isn't that Spielberg has lost his gift for fantasy. It's that he no longer seems to know (or care) about anything else.
  24. 300
    Look, but don't be touched: There is much to see but little to remember in this telling of a battle we are meant never to forget.
  25. The planet-hopping children have special talents -- telekinesis, telepathy etc. -- although it is the high-wattage lovability of Mr Rock that's the real superpower on display here.
  26. The film's cumulative effect is as exhausting as it is exciting.
  27. As a lissome art restorer, Asia Argento (the director's daughter) comes off as the sanest human on screen, which is pretty scary.
  28. In a season of digital bombast, it can be a relief to walk into a stodgy life-of-the-great-man costume drama. Goya's Ghosts, before it turns into a messy, horse-drawn load, achieves a civilized stuffiness that gives off its own mild pleasure.
  29. Agresti fattens us up with the kind of kid's-eye-view tragi-comic adventures that regularly supply empty calories in artificially sweetened foreign-language imports.
  30. The kids in this syrupy family picture are spunky tykes and the adults are dolts, but Wood is worth watching because she's so clearly ready to play nobody's girl but her own.
  31. Glum and depersonalized, as if Eastwood couldn't muster the energy to guide us through this maze of improbable twists. [14 Feb 1997, p. 39]
    • Entertainment Weekly
  32. Janet McTeer displays Amazonian power while Jennifer Jason Leigh tears into her role as a high maintenance creature with a ferocity that leaves little room for her usual acting tics.
  33. It gradually loses wattage. Robertson, however, is a real sparkler.
  34. Some of the riffs are really funny and/or expertly scary. Others have the feel of awfully snappy dialogue crafted by middleaged people trying a little too eagerly to sound like the young people from whose mouths the banter flows.
  35. Something is wrong under this big tent. Actually made to resemble a good old-fashioned, crowd-pleasing movie, this cinematic Water for Elephants droops and lumbers like Rosie the elephant herself.
  36. The imagery is exotically grungy and jumbled by flashback, but in the end, the picture's more pulp than juice.
  37. Apocalypse feels like a confused, kitchen-sink mess with a half dozen too many characters, a villain who amounts to a big blue nothing, and a narrative that’s so choppy and poorly cut together that it feels like you’re watching a flipbook instead of a movie.
  38. The Monuments Men sounds like a what's-not-to-like? movie, but it turns out to be a bizarre failure.
  39. There's something almost endearingly out of sync about the sleek but now dated Euro-thriller The International.
  40. An ill-judged twist pitches the story sideways, but Crudup's performance holds the center. His pain isn't soggy or showy; it just feels true.
  41. The accountant in Bloom would probably approve of the new Producers: It's an efficient extension of a popular brand. In theory, what's not to like? In reality, the whole schmear.
  42. You can see what the film was going for, but the jokes just sit there; you chuckle a few times, mostly out of lame hope, but you never bust a gut, never really get what you came for.
  43. The most impressive thing about Triple 9 is that it somehow manages to be both predictable and incoherent at the same time. Well, that and the fact that it manages to make half a dozen good actors look really lost.
  44. Director Stella Meghie sidesteps the pitfalls of your typical YA movie, delivering a gorgeous and sweet story that you can’t help but fall in love with.
  45. Epic isn't quite destined for the “Again, again!” re-watchability of some of the Pixar classics, but for a satisfying explosion of color on a lazy summer day, it does the trick.
  46. Doesn't take advantage of its own possibilities, either as a hard-boiled gangland battle or as a soft-boiled, interracial Shakespearean love story.
  47. Carries little in the way of passion or revelatory charge.
  48. The easygoing silliness with which this late-summer movie surprise scuttles from mayhem to mayhem and the verve with which the cast throws itself into the fray are so cheering and liberating.
  49. The author was able to compensate for the book's plotlessness by contemplating other people leading full lives quite as important as hers. In Wells' movie adaptation, even the birth of a friend's baby becomes all about Frances and the play of emotions on Lane's busy, beautiful face.
  50. May find an audience, but I found it to be a leftover John Hughes triangle.
  51. A tricky-bordering-on-gimmicky film noir with a glaze of soft-core kink.
  52. Has Brian De Palma finally lost his mind? Ever since "Carrie" (1976), his one true masterpiece, this director has evolved into a cinematic serial killer of common sense.
  53. John August directs it briskly, as a gossip-era "Twilight Zone" of image and reality.
  54. With Ethan and Janie sharing folkie duets, it has a certain small, wan charm, like a father-daughter gloss on "Once." Breslin is a clear-eyed delight.
  55. Compared with a superior potboiler like "Salt," which messed with your brain in entertainingly far-fetched ways, Safe House is action-movie porridge gussied up into a less-clever-than-it-seems mystery.
  56. Director Tina Gordon Chism keeps the innocuous class-meets-crass jokes bubbling, and the actors are amiable, but Peeples often seems to want to turn these characters into benignly goofy role models. Maybe that's why the basic comic collision never explodes.
  57. Norah Jones, making her big-screen debut as a wistful wanderer, is a beautiful blank, and the fragments barely add up to a movie.
  58. With his latest film, the mawkish and melodramatic Labor Day, Reitman has done an unexpected about-face: He's ditched Wilder for Douglas Sirk. And the swap doesn't do him — or his fans — any favors.
  59. It's a pity that the film is bereft of satiric zing, bludgeoning the laughs with a nonstop sledgehammer of bro humor.
  60. 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.
  61. Actor Ulliel, who’s been the face of both Chanel and Hannibal Lecter (in 2007’s Hannibal Rising), knows how to slither. His version of Yves is spoiled, insecure, cruel—and, in the movie’s ironic final shot, tickled to death that we still seem to care about him.
  62. Beautiful Creatures, more than the "Twilight" films, lacks danger and momentum. The audience, like Ethan, spends way too much time waiting around for Lena to learn whether she's a good girl or a bad girl.
  63. Hathaway’s take on the underwritten Jules is refreshingly unshowy, but De Niro seems a little lost.
  64. Lively looks fantastic in every era’s fashion as it passes, and she does a nice job of conveying Adaline’s old-world diction and reserve; there’s no Gossip in this girl.
  65. Most of us consider Marilyn Monroe a born star with modest acting skills, but Love, Marilyn deepens the argument that the ditzy, dim-bulb ''Marilyn'' was every inch a performance, and a brilliant one.
  66. The Golden Compass is a snowbound mystical-whizbang kiddie ride that hovers somewhere between the loopy and the lugubrious.
  67. The film hinges on too many conventional crises (a car accident, a divorce), but the fact that Burns is better at atmosphere than story isn't all bad.
  68. Their odd couple interplay propels a series of shambling, expletive-laden mishaps that aim more for easy laughs than Wild epiphanies.
  69. With Poetic Justice, John Singleton has (at least temporarily) lost his way, but he may have found an actor [Shakur] who can help lead him back.
    • 51 Metascore
    • 83 Critic Score
    First Descent is not as eloquent, and thus not as electrifying, as Stacy Peralta's "Dogtown and Z-Boys" or "Riding Giants," the two jock docs it's clearly modeled after. No matter: Visually, MD Films offers up a sugar rush.
  70. Disoriented but occasionally disarming saga packed with moments out of an ''Alice in Wonderland'' adventure, a stalker thriller, and a condensed season of TV's ''Big Brother.''
  71. Starts out as a neo-Pygmalion comedy, but the film is slow, earnest, and rhythmless.
  72. Windtalkers blows this way and that, but there's no mistaking the filmmaker in the tall grass, true to himself.
  73. Moretti makes this ''study'' in despair a naggingly neutral, at times borderline coy experience.
  74. The dialogue, most of which is stilted philosophy about femininity and beauty, sounds like something your freshman-year roommate said and you learned to ignore.
  75. Contraband, while often grungy and far-fetched, does keep you watching. And in January, that's recommendation enough.
  76. Strenous yet flat, The Brothers Grimm is a let's-see-what-sticks spectacle that, coming from Terry Gilliam, is more grim than "Grimm."
  77. In the title role, Michael Peña has a no-nonsense fire: He captures how Chavez borrowed from Martin Luther King Jr. but also fueled the struggle with his own improvisatory brilliance.
  78. Predictable, corny, and mild.
  79. Far too cloyingly pleased with its own humanity.
  80. The best scenes are hilarious sessions between the great Gemma Jones and the wonderful Pauline Collins as a charlatan fortune-teller.
  81. Gregg doesn’t possess the moral rot needed to crawl into the Willy Loman muck, and the film’s dialogue is Glengarry lite, but Saxon Sharbino, as an enigmatic tween actor, is just as the movie claims: the real deal.
  82. And so by the time the pair admire the Grand Canyon and, Due Date has lost its way, relying on its leading men to lead by charisma alone, even though their characters have nowhere interesting to go besides the happily-ever-after of dull, responsible male maturity.
  83. How to Be Single is a lot like its Jager-bombing, romance-seeking protagonists: Cute and goofy and kind of a mess.
  84. Shrewd, tough, and lively -- a junior-league "One Flew Over the Cuckoo's Nest."
  85. The movie is sensationally exciting, but its hey-kids-let s-put-on-a-war! story line plays like Beverly Hills, 90210 recast as a military-recruitment film for the Third Reich.
  86. The Net is an efficient, workmanlike thriller that, at its best, does a canny job of exploiting the more fanciful edges of computer-age dread.
  87. Nothing in John Carter really works, since everything in the movie has been done so many times before, and so much better.
  88. "The Station Agent's" Peter Dinklage provides diversion as a gay wedding planner.
  89. The movie wants to be deadly cool, but mostly it's just deadly.
  90. The big draw should be 3-D, which enhances the visual intimacy, though only in shooting a male orgasm does Noé go gonzo with the format.
  91. Neat as Joe looks, you do wish that someone had bothered to give him a personality.
  92. This is how a fairy-tale movie gives us our money's worth today. Even if once upon a time, it was called overkill.
  93. Reveling in mess and homegrown multiracial mayhem, Death at a Funeral finds a new lease on life.
  94. During the film’s intoxicating first 30 minutes, for example, I couldn’t decide whether what I was watching was brilliantly bonkers or total folly. Then, as the story went on, it came into sharper and sharper focus: Valerian is an epic mess.
  95. A classed-up B-movie riff on "The Most Dangerous Game." Call it “Tex-Mexploitation.”
  96. Although the film's frenetic rhythm is reminiscent of an "Indiana Jones" picture, visually Schumacher directs it like a musical, turning each image into eye candy, weaving one lush set piece into the next, as if he were the Vincente Minnelli of blockbusters.
  97. Nothing wrecks the mood of a high-toned British period piece about erotic obsession quicker than an unintentional laugh. In which case, prepare for Asylum to be derailed by snorts in all the wrong places.

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