Entertainment Weekly's Scores

For 5,989 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 Iraq in Fragments
Lowest review score: 0 But I'm a Cheerleader
Score distribution:
5989 movie reviews
  1. Wilson has some deliciously awkward laughs thanks to Harrelson’s curmudgeonly, childlike performance, but it zips right along without ever landing any emotionally resonant blows.
  2. Schwarzenegger, for one, seems to be having a hoot.
  3. Really, who needs a bad guy who's this guilty about being bad?
  4. Guess Who, with its PG-13 putdowns, turns into the kind of love story that Hollywood feels most comfortable with: a buddy movie, salt-and-pepper variety. All that's missing is the cop car.
  5. Seth Green is uproarious as an Amish farmer who speaks in sentences so passive-aggressive, they're like tiny slaps.
  6. This latest market-savvy bit of circuit preaching is less cartoonish than Perry's previous big-tent revival meetings.
  7. The movie pretends to warn against such shallowness -- but flaunts its arousal at how exciting such a controllable world is for those with access to the software.
  8. Commits the cardinal sin of too many modern movies: It never gives the audience a clue why any of these people were ever attracted to one another in the first place. [30 May 1997, p. 54]
    • Entertainment Weekly
  9. The movie IS a provocation, but not a glib or ideologically myopic one.
  10. Really, all this movie is about is the joy of checks, calls, folds, rivers, and the acquired thrill of knowing what those words mean.
  11. Far and Away looks like an epic, but it lacks flavor and texture. It's so predigested there's nothing left to chew on.
  12. The leisure-time viewer will say, ''Hey, this is sort of like "Casablanca," so why play it again?''
  13. Jake Gyllenhaal’s wild-card performance is the only reason to bother with "Dallas Buyers Club" director Jean-Marc Vallée’s manipulative downer.
  14. God forgive me, but I enjoyed the nerve-racking silliness of this newest, loudest exercise in destruction.
  15. The enterprise might also be called ''Picket Fences on Ice."
  16. It's as self consciously arty and fragmented as ''Twin Falls'' was controlled and organically built.
  17. A fake street drama that keeps telling you things instead of showing them, though Mekhi Phifer, playing a hustler who loves the life, is electric and true.
  18. The Reckoning, with a script by Mark Mills, demands close attention; it's a play of words and ideas crowding for consideration.
  19. A snappy start gives way to an unfocused second half, which devolves into a walking tour of indie-film clichés that make the 80-minute run time feel overlong.
  20. West is a talented director and knows how to build suspense. But here’s a case where the truth wasn’t only stranger than his fiction, it was scarier, too.
  21. We're treated to what's essentially a slick, airbrushed promo reel of a bunch of genuinely sweet superstars who can't believe their dumb luck. That's charming. But it's also a little boring. What it's most definitely not is a documentary.
  22. A threadbare crazy-quilt of Spanish sex comedies, Queens wants desperately to be "Women on the Verge of a Big Gay Wedding."
  23. The sequel, more successfully (if less innocently), injects you into a luminous technological wonderland and asks you to be happy with the ride.
  24. It's a veritable Greek chorus of wry therapeutic chatter, the touchy-feely pensées skittering over the stock dualities of adultery and fidelity, lust and devotion, narcissism and intimacy, blah, blah, blah.
  25. 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.
  26. May not tell a great story, but it's a great wow.
  27. The other thing The Thing has got going for it is a welcome hint of dour Scandinavian sensibility sneaked in by director Matthijs van Heijningen Jr. whenever there's a pause in the unexceptional antics of aliens consuming humans.
  28. The Fifth Estate is flawed (it grips the brain but not the heart), yet it feverishly exposes the tenor of whistle-blowing in the brave new world, with the Internet as a billboard for anyone out to spill secrets. Call it the anti-social network.
  29. Horror fans should keep their eyes on the filmmakers — and Essoe, who gives a star-making performance.
  30. American Reunion is about the comedy of middle-class men who can't be satisfied with sex until it looks like porn.
  31. Full credit to director Michael Dougherty (Trick ‘r Treat) because this is great-looking movie, filled with freaky creature designs and a just-right mixture of practical effects and CGI.
    • 49 Metascore
    • 42 Critic Score
    Looking back, 1993 was a golden age for thriller cinema. That was the year Hollywood hatched both "In the Line of Fire" and "The Fugitive," the two obvious and way superior antecedents for the very humdrum B-movie mash-up The Sentinel.
  32. These tales are as highly designed as fashion layouts. But they're as relaxing to thumb through as those NYT Magazine trend pieces.
  33. People Like Us demonstrates how a drama can be heartfelt and bogus at the same time.
  34. Arnold Schwarzenegger appears as the rare politician who supports reform in this timely exposé of how our democracy has slipped off its tracks.
  35. The mix is Lifetime soap–meets–Woody Allen smart-set comedy, with less humor and a genteel Connecticut setting.
  36. Since the film’s last-minute rewrites, casting switcheroos, and musical chairs behind the camera are irrelevant to the actual quality of the movie, I’ll avoid rehashing them here, save to say that the disarray shows on screen.
  37. Its pulpy violent excess will tip over...into slightly more excessive excess. That's its silly, scuzzball joy.
  38. The truth is that we're way past being outraged by these sorts of Crimes of the One Percent, not because they don't happen, but because the real version is so much more interesting.
  39. Howard luxuriates in writerly misery as Barlow, and the participation of the filmmaker's real-life wife, Debra Winger, as Barlow's ex gives the scenes between the two of them an unfakeable erotic charge.
  40. Plays like an unusually ritzy festival circuit audition film, though McQuarrie, it must be said, aces the audition.
  41. Little is asked of talking-animal movies, save charm, heart, and at least one scene where said animal wears a lampshade. Good Boy! has all those things, plus a winning story line.
  42. You're set up for when director Richard Donner -- who worked with Gibson on all three audience-pleasing Weapons -- switches the movie from a really interesting, jittery, literate, and witty tone poem about justified contemporary paranoia (and the creatively unhinged dark side of New York City) to an overloaded, meandering iteration of a Lethal Weapon project that bears the not-so-secret stamp of audience testing and tinkering.
  43. A horror film that consists of virtually nothing but don't-go-in-the-attic suspense scenes strung together with a reasonable degree of brooding mood and a minimum of logic.
  44. It's basically a zombie movie with machines instead of the walking dead.
  45. The film keeps throwing things at you, like a colorful ape pirate (Peter Dinklage) and a fun hallucination sequence. That said, the laughs are starting to feel prehistoric.
  46. 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.
  47. The trouble is, it's all too exhibitionistic to ring true. The impotent folly of Antichrist is that von Trier has made it his mission to shock the bourgeoisie in an era when they can no longer be shocked.
  48. Because the script, riddled with verbal ugliness by David Elliot and Paul Lovett, sends the movie to a series of arbitrary nowheres, the final showdown for the Mercer boys and their enemies is just as meaningless and sense-deadening.
  49. It's like "Deathtrap" crossed with "Cribs" as staged by Stanley Kubrick.
  50. The movie is also visually magnificent - modestly so. Plus, it's half the length of "Avatar."
  51. The hero remains such an exhibitionistically cocky, walled-off jerk that Flannel Pajamas' glib conversational ''candor'' yields no mystery. And that's a problem in two hours of talk.
  52. It's like a film-school thesis gone disastrously wrong.
    • 49 Metascore
    • 42 Critic Score
    A little more script work, at the very least, should have gone into the manufacture of the black comedy Bedazzled.
  53. A characteristically engorged and sloppy coming-of-age movie from the filmmaker (''Harvard '66'') who, in his body of work, indulges his fantasies as fetishistically as other men finger their cigars.
  54. A chintzy melodrama gussied up as hair-trigger combat ''reality,'' but there's no denying the vividness with which the French cowriter-director Elie Chouraqui has visualized the chaos of Croatia.
  55. It’s a rom-com setup lamer than anything in the Barrymore-Sandler canon, but Binoche and Owen tackle it like high drama and eke out a few sweet moments.
  56. Working with an explanatory script by Dean Georgaris, Reynolds is much more confident in scenes of realistic battle, or even muddy marketplace dailiness, than he is with scenes of desire.
  57. By the end, the main thing that's been abused is the audience's intelligence.
  58. I Think I Love My Wife has got to be the unlikeliest French New Wave classic ever to be retrofitted by a famous African-American stand-up comedian best known for his stinging social commentary -- at least until Dave Chappelle remakes Jean-Luc Godard's "Breathless" as a hip-hop caper.
  59. At a time when the budgets for sci-fi films are, like the universe itself, expanding at an astronomical rate, Riddick decides to go small.
  60. Neither scary enough to be a horror film nor funny enough to be a comedy.
  61. Some motion pictures portray ultimate passion; others create ultimate thrills. Men in Black II achieves ultimate insignificance -- it's the sci-fi comedy spectacle as Whiffle-Ball epic.
  62. What's new and nutty, though, is the physical comedy of Jackie Chan as Fogg's manservant.
  63. Sure, Martin and Keaton squander their talents on this sentimental piffle, but it's hard to begrudge these two stars a couple of commercial hits. And oh, those adorable babies at the conclusion! The audience I saw Father of the Bride Part II with loved this big, corny, old-fashioned movie; as crowd-pleasers go, it's a shrewd one.
  64. The film is more than a little in love with the corruption it finds under the floorboards -- and that, of course, is perfectly dandy. I wouldn't trust a film noir that wasn't enthralled by decadence.
    • 49 Metascore
    • 50 Critic Score
    Kind of like a feel-good "Saw" for churchgoers, minus the sadistic games of death.
  65. An Unfinished Life is inert, kaput -- a middlebrow mush of platitudes rather than an okay corral of distinct characters with heartbeats. It's awful not in an exciting, uncontrolled way but in an overly controlled, narcotized way.
  66. Congratulations are in order for Rachel's sexual awakening, but we might as well applaud the dull girl for falling in love with the nearest bunch of lilies rather than the florist.
  67. Stalingrad is a 3-D epic that's one-dimensional.
  68. The filmmaker's got good taste -- and luck -- in casting.
  69. It's like "Schindler's List" crossed with "The Sound of Music," and Roger Spottiswoode directs it in a stiff, lifeless, utterly dated style of international squareness.
    • 49 Metascore
    • 58 Critic Score
    All over the place:It's a boardroom/family/couples/road-trip story.
    • 49 Metascore
    • 58 Critic Score
    The overfamiliar Open Season feels like just another CG 'toon in our 'toon-glutted times.
  70. Gerwig is adorable, but that's both good and bad, as the movie can't stop cuing us to see that Lola's winsomeness will rescue her.
  71. But when it comes to that great puppy pilgrimage, the movie, which was written and produced by John Hughes, falls astoundingly flat.
  72. Even lush set pieces and a raft of prestige players (including Shohreh Aghdashloo, James Cromwell, and Jean Reno) can’t fulfill the movie’s pretty, ultimately empty promise.
  73. Every instance of gleeful bad taste is timed and positioned for maximum, liberating laugh value.
  74. The movie follows convoluted narrative tracks. By the end of the drowsy journey, the characters are indistinguishable from the scenery.
  75. But overall, this lazy, sweet trifle seems to express the banality of well-being.
  76. What shines through is the visual wit and innate sweetness of the storytelling, and Carell’s cackling, cueball-skulled misanthrope — a (mostly) reformed scoundrel who can still have his cake, and arsenic too.
  77. The numbers, while lively, remain cluttered and stage-bound. The women, however, are spirited and sexy.
  78. There's nothing nice about 30 Minutes or Less. It's got no redeeming social value. It just ticks away, exploding all notions of where you think it's going to go. It blew me sideways.
  79. The climax makes for a satisfying conclusion to the franchise—an ending which this writer expects, and even hopes, all concerned will studiously ignore when they get around to making the next one.
  80. Soul Men could have done with less amped-up abrasiveness and more soft-shoe charm.
  81. A denouement more textbook than thrilling stalls some of the movie's power. But the early chills are potent, intense.
  82. The Quick and the Dead is too light to pack the dramatic punch of a true Western and too flat to pass as cheeky revisionism. It ends up in its own amiable, slowpoke limbo.
  83. It may seem harmless, to some, that our movies have never entirely abandoned the land of Poitier-ville, but as Hart's War demonstrates, it's an insult that they haven't.
  84. I rather like the whole mystic- crystal-revelations aspect of K-PAX, and the idea that even a psychiatrist of Jeff Bridges' handsome, American substantiality is open to notions of cosmic improbability.
  85. A traditionally dressed, old-fashioned drama, starring Kevin Kline in the Robin Williams role -- is as much about the moral development of the adult as about his boys'. More so, maybe.
  86. Turns into a grab-bag freak show as desperate as it is arbitrary.
  87. The only real heat among the group comes from Jennifer Connelly, who, as the bad-girl middle daughter, raises the stakes any time she's on screen.
    • 49 Metascore
    • 58 Reviewed by
      Ty Burr
    Murphy gives a reined in performance that, every so often, shows a spark of the ''Shrek''ish donkey within.
    • 49 Metascore
    • 42 Critic Score
    Liu Ye is too inexpressive for his role's demands, and the movie doesn't build to his downfall: It just zaps itself there.
  88. As it is, The Mechanic is ham-fisted pulp, like Robert Rodriguez's "Machete" taking itself seriously.
  89. There are fun moments, especially with Kristin Chenoweth’s vampy poison dart frog. But with more evolved films like "The LEGO Movie" and "Frozen" in the animated ecosphere, overstuffed and gag-reliant time-passers like the Rio movies feel like a dying breed.
  90. Live by Night is clearly Affleck’s love letter to classic pulp, and almost no noir touchstone goes unturned in its two-hour-plus run.
  91. Like its two predecessors, Scary Movie 3 is a hit-or-miss affair, but the gags that connect really connect.
  92. In the end, the most impressive performance may be Spike Lee's. He uses skill without gimmickry, flash without fuss, to tap the mesmerizing soul of this pulp.
  93. So jaunty, so limber, and so visually self-assured that art peeks through where crap has traditionally made its home.

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