Entertainment Weekly's Scores

For 5,016 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 4.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Half Nelson
Lowest review score: 0 Molly
Score distribution:
5,016 movie reviews
  1. Tells a moldy-oldie, not-nearly-as-nasty-as-it-thinks-it-is joke. Over and over again.
  2. Mildly amusing, but compared to Pixar's splashy fish story, the rudimentary drawings and childish gags of Nickelodeon's latest feature look, in a word, cartoonish.
  3. 2F2F, under the cut-to-the-chase direction of John Singleton, strips the package known as the Mindless Summer Movie down to its barest components of wheels, skin, and a pulsing soundtrack.
  4. Martin's gift for physical and vocal comedy is as deft as ever.
  5. The movie, directed with a gym teacher's whistle by "Scooby-Doo's" Raja Gosnell, is a contempo soft-focus remake of the 1968 original starring Lucille Ball and Henry Fonda.
  6. Crossing Over is so eager to go for the emotional jugular that it never quite forges an enlightening point of view.
  7. Blunt-witted, visually pedestrian, and overly long, with too many scenes of Blade and his cohorts standing around in darkened corridors, waiting for their enemies to show up. The action, however, is as throat-grabbing as you want it to be.
  8. An earnest, lumpy macramé of a personal nonfiction project.
    • 38 Metascore
    • 42 Critic Score
    Mellow -- nay, snoozy -- atmospherics trump actual scares, and it makes almost zero sense.
  9. There are laughs to be had, yet the movie is, if anything, more strenuous than it is funny.
  10. Might best be described as bereavement porn.
  11. The only pleasure to be derived from the resulting carnage comes from the Rube Goldbergesque chain reactions that precede each fatality.
  12. Comes from the same jolly homage-to-schlock-shock producers who remade ''House on Haunted Hill,'' and the emphasis is shamelessly on ornate scares. But with its high-gloss cast and French art-house actor and director Mathieu Kassovitz (''Hate'') in charge, the movie also shoots for class.
  13. Like choral singing and travel photography, this adventure is more fun for participants than it is for spectators.
  14. Adore has the distinction of featuring some of the most laughable dialogue in any movie this year.
  15. Cooper, who looks appealingly wolfish in his expensively tailored suits, plays the whole thing with a dutiful, earnest expression lacquered on his face, his eyes misting on cue at the exact same moments yours will be rolling into the back of your head.
  16. A nice cookie-cutter comedy, no more and no less, but Dempsey, with his relaxed charm, and Monaghan, with her soft and peachy sensual spark, rise to the challenge of making friendship look like the wellspring of true love.
  17. Displays no ambition to be anything more than a synthetic sense-jolt conveyor of the week.
  18. A frustratingly old-school, Hollywood-style, inspirational biopic about Amelia Earhart that doesn't trust a viewer's independent assessment of the famous woman pictured on the screen.
  19. Concentrate instead on the delightful performances. A thespian shoutout goes to Reynolds (his hair bleached bright yellow for the gig) for his jaunty way with a cape, tights, and the hands-on-hip poses of superherodom.
  20. Carrey suggests an escaped mental patient impersonating a game-show host-and, what's worse, his hyperbolically obnoxious shtick is the whole damned show.
  21. When the florid speeches of volcanic rage and frustration draw to a close - and when Collins and Gooding complete their acting exercises - we still have no clue who these men are and what sent them down their intersecting moral dark alleys.
  22. Despite all the macho posturing, the corny story is just as sappy as anything on Lifetime.
  23. This digitized update, with Jason Lee as a huskier, more generic Underdog, mostly drops the doggerel, but the endearing airborne-beagle effects help to offset the formula twists.
  24. Van Damme and his cronies (including Lela Rochon, Paul Sorvino, and, for no immediately graspable reason, Rob Schneider as Van Damme's rabbity sidekick) race, speed, shoot, chop, and zip through scenes of such festive mayhem, plot is a clunky afterthought, like a lopsided fake Prada label on a cheap nylon knapsack.
  25. Every once in a while, though, Firth's eyebrow hints, Can you believe I'm wearing this dorky leather breastplate?
    • 37 Metascore
    • 58 Critic Score
    Compellingly reserved and inscrutable at the start, Franco starts to lose us by the second hour, when his character's still not showing up for roll call on time, and isn't charismatic enough to bring us over to his side.
  26. Stephens stages Another Gay Movie in a style of low-budget fluorescent overkill, but a handful of the gags are low-down funny.
  27. Directed by Luis Llosa with all of the subtlety of a snake-oil salesman, is in the great tradition of cinematic cheese, as processed as Kraft Singles slices. [18 Apr 1997, p. 48]
    • 37 Metascore
    • 67 Critic Score
    So can Freddy beat up Jason, or what? Let's just say that neither one would have stood a chance against Abbott and Costello.
  28. The hell of it is, Be Cool is tepid entertainment that could be cool if it spent less time entertaining us as if we were demanding a definition of rhythm.
    • 37 Metascore
    • 25 Critic Score
    Afterlife is slow-moving but relentless, and judging from a post-credits teaser that promises yet another sequel, it has an unquenchable appetite for your brain cells.
  29. The lesson is that fun can't be planned, but the film is so airless (think iCarly as a videogame) that there isn't a truly playful moment in it.
    • 37 Metascore
    • 58 Critic Score
    At best, this version succeeds as a Sunday school supplement. But the blandness is enough to make you long for Mel Gibson's "The Passion of the Christ."
  30. The Tourist isn't a debacle, but it's a caper that's fatally low on carbonation.
  31. Maybe the worst thing that can happen is that every other movie at the multiplex will be sold out this weekend.
  32. The punchlines are as tired as Hogan looks.
  33. Falls short of its source.
  34. This is a B movie rooted in gut-level stirrings of power and retaliation.
  35. 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.
  36. The action climax just goes on and on, making The Lone Ranger the sort of movie that delivers too much too late and still manages to make it feel like too little.
  37. The message is so good-hearted, so inarguable, so dull.
    • 37 Metascore
    • 75 Critic Score
    Curtis Hall keeps slipping in surprising social and emotional flavorings rarely found in the genre.
  38. The surreal thing is, Zac Efron can't do despair.
  39. Miracle isn't powerful, it's muddled and diffuse.
  40. Joel Schumacher directs with far less fetishism than he might have, while producer Jerry Bruckheimer kicks up only a fraction of the bull dust usually visible in his projects.
  41. Nothing but mood... it simply has too few surprises to justify its indulgent atmosphere of malignant revelation.
  42. Each man's shtick swells into a frenzy of overacting.
  43. You realize you're watching a snuff film, where the victim isn't just teen innocence but teen romance.
  44. The result is a stilted culture clash and a lot of monochromatically conflicted facial expressions from Perry before he's thawed by the love of an ethnic woman.
  45. Myself, I felt victimized by the stereotype shtick of reliably grating Rob Schneider as a Canadian-Japanese wedding-chapel minister from SNL castoff hell. But maybe that's just because this movie encourages sensitivity by hitting everyone over the head with its humor hammer.
  46. The United States of Leland is tedious yet infuriating, since its characters, all of whom seem to have emerged from a screenwriter's manual, are like exhibits in a thesis meant to indict the middle class for the crime of its collective dysfunction.
    • 37 Metascore
    • 42 Critic Score
    The fourth installment of Robert Rodriguez's franchise that keeps adding dimensions even as it loses charm would have been better titled "Spy Kids: All the Time Puns in the World."
  47. Opportunities for bad behavior abound in Waldman's novel - the author's prerogative. Roos, though, hasn't cracked the puzzle of how to explore that behavior on screen in such a way that the characters behave badly in interesting, rather than arbitrary, ways.
  48. Writer-director Steven Zaillian's version stultifies, especially when compared with Robert Rossen's fiery 1949 Oscar winner. How could such dullness defeat the retelling, when Willie Stark is one of the most vivid characters in 20th-century American popular culture?
  49. Terminally muddled crime drama.
  50. Does all it can not to dehumanize Chong.
  51. It's not just that Tony Soprano is richer, darker, cooler, and scarier. The dude gets more laughs.
    • 37 Metascore
    • 33 Critic Score
    This movie has no courage and little brains, and is salvaged, if at all, only by its heart. There remains a huge market for a great Halloween teen comedy, but Fun Size is the disappointing apple that your crazy-haired neighbor gives you instead of candy.
  52. In the ''flesh,'' Garfield himself (voiced by Bill Murray) is once again strikingly unlikable, a bloated, bingeing fascist.
  53. Wayne's World's Penelope Spheeris directs and also plays herself, in a movie with a message as self-congratulatory as it is meta: All problems are surmountable when selfless Hollywooders work extra, extra hard, pulling together ''for the kid.''
    • 37 Metascore
    • 42 Critic Score
    Seems like a technological regression.
  54. Taylor Hackford, fails to squeeze the tiniest bit of juice, sexy or comic or otherwise, out of the chintzy-libertine locale.
  55. Despite some sizzle with love interest Mekhi Phifer, the alluring Alba ends up a desexualized mouthpiece.
  56. Except for the relentless, jittery way that the film has been photographed, there's nothing of interest going on in it. It's all fractious guerrilla-newsreel "style" masquerading a void.
  57. The journey, however, is a hollow one, since Quaid and Stone, for all their efforts, never really do seem married. Perhaps that's because Stone, with her dry-ice charisma, does everything that an actress should except connect to whomever she happens to be facing on screen.
  58. The truth is, the freakiness kinda turns the director on, and he nearly strangles Suspect Zero with love.
  59. The twist in The Double slack mystery-thriller is revealed with a shrug about a third of the way in. After that, it's all about Gere looking grim, and Grace looking stricken as he learns what we already know.
  60. It's a solemnly preposterous piece of designer revenge pulp, with actors who stand around bathed in red and blue light like David Lynch mannequins in between scenes of torture and murder.
  61. It's sort of an ursine ''The Last Waltz,'' with more costumes and no direction from Martin Scorsese.
  62. Pungent, funny, and surprisingly forceful.
  63. For women who smoke and drink like fiends, the trio of pre-owned babes in this weirdly rotten femme-porn romance have awfully good, unwrinkled complexions.
  64. At the Lethal Weapon plant, what you see, after 11 years, are the rusting remnants of a once innovative model.
  65. The story is so bored with itself, it collapses -- but the diverse troupe of dance talents at least makes it an eclectic slide.
  66. 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.
  67. Young boys are the only suitable audience for Speed Racer, the elaborate live-action adaptation written and directed by "Matrix" creators Larry and Andy Wachowski. And even they might feel an urge to squirm.
  68. The movie is a folly, a desultory vanity project for its director and co-writer. But for those very reasons, W.E., by world-renowned personage and lesser-known filmmaker Madonna, is not without twisted interest.
  69. An unintentionally ludicrous drama of repentance.
  70. I didn't think Matthew Perry could find a romantic comedy more inert or inane than the 1997 fiasco ''Fools Rush In.''
  71. Plays out like a variation on an old design dictum: If you can't make it good, make it big.
  72. Scrappy and rambling and overly earnest.
  73. Raging ego aside, the penny-ante hucksterism of his I'm-going-on-dates-to-get-famous-making-a-movie-about-dates approach is too cloying and opportunistic to bear.
  74. The problem with the movie isn't that it sells out Rocky and Bullwinkle -- it's that it can't keep up with them.
  75. The big climax isn't climactic, just hysterical and incoherent. Murphy, with her bug-eyed, love-me mugging, is simply too slight and gawky to play the Everygirl.
  76. The whole thing feels like a half-day of community service, which Lawrence walks through good-naturedly.
  77. Requires Neeson to stare coldly and talk to corpses, but Ricci has the greater dramatic challenge: She has to operate, unfazed, in close-up nakedness much of the time.
    • 36 Metascore
    • 58 Critic Score
    British comic Stephen Merchant (Extras), exudes an easier charm as a goofy fairyland caseworker who harbors big dreams of his own.
  78. Theron is an arresting image, but, like everything else in Aeon Flux, she's stranded in a trashy and derivative glum zone of fashion-runway fascism.
  79. The new Arthur is a feathery screwball satire, competent on its own terms, yet as the movie went on I found it increasingly hard to separate the character's self-indulgence from that of the actor playing him.
  80. For all I know, Ryan's performance could be a dead-on Kallen impression. But what she appears to be doing is an impression of Johnny Depp doing an impression of Keith Richards doing an impression of Liz Taylor.
  81. Sometimes, typecasting works: Holmes and Bratt settle comfortably into their roles, and the movie proves a competently made, mildly diverting collegiate thriller -- at least until its all-too-predictable ''twist'' ending.
  82. Writer-director Victor Salva squanders all of his original movie's not-entirely-awfulness and bumbles into the realm of unintentional comedy.
  83. The image of this kitchen-magician dream robot comes at us in little jolts and spasms that have the zappy, self-contained rhythm of a fast-food tie-in commercial.
  84. A blatant re-spin of ''The Fast and the Furious'' that also happens to be a far better movie.
  85. With his tousled mane and wispy facial hair, Asian pop star/ Prada model Kaneshiro suggests a Japanese Johnny Depp, but even his charisma can't carry Returner through its interminable longueurs. Blame it on Yamazaki.
  86. Sour, sadistic, and stale from sitting on the shelf since the pre-''XXX'' era -- an era I'm starting to miss.
  87. The movie zips around without any true forward momentum. The stars carry you along, though.
    • 36 Metascore
    • 67 Critic Score
    There are few cinematic crimes more heinous than making a boring action movie. Sadly, that's what the first hour of Triads-versus-Yakuza thriller War is.
  88. Remarkably, the result manages to be both more preposterous and more efficient than its predecessor, with a couple of deaths occurring so swiftly they border on the subliminal.
    • 36 Metascore
    • 50 Critic Score
    It's as if, on the umpteenth Asian-horror Xerox, the ink has run dry.

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