Entertainment Weekly's Scores

For 5,207 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 A Mighty Wind
Lowest review score: 0 She Hate Me
Score distribution:
5,207 movie reviews
  1. Aside from a few cheap but effective shocks and jumps, there's nothing here that horror fans haven't seen in better recent films like "The Conjuring." Not to mention all of those wonderful Hammer films from the '50s and '60s.
  2. Its B-movie sins are many, worst among them an icy hero and a plot that feels like it was built from relics of other, better films.
  3. Lawrence Kasdan's comedy strikes a note of rib-nudging blah coyness that feels very 1987.
    • 41 Metascore
    • 50 Critic Score
    Except for when Paris is on screen giving us the winking sex eye, Wax is just a museum of gory, joyless, easy shocks.
    • 40 Metascore
    • 58 Critic Score
    For a second, the movie has the snap of a truly surprising thriller -- like a Hispanic "Kill Bill" -- about an aging lioness willing to kill to protect her cub.
  4. Of course, there's still the Williams schmaltz factor.
  5. The Hunted stalks the masculine psyche with sharp knives, but it tracks its audience too noisily to bag us.
    • 40 Metascore
    • 50 Critic Score
    Originally conceived as a videogame, Kaena is now, instead, a creamy-colored yet derivative sci-fi fantasy with a few rip-offs so blatant (''The Empire Strikes Back,'' ''Alien,'' etc.) that even kiddie fans not yet mentally agile enough to make sense of the loopy plot could pick them out.
  6. Will take you places you haven't been, and also places you have.
  7. Brolin and Gosling are both supposed to be playing World War II veterans who bring their knowledge of battle into the tough turf of the streets, but that's just a concept that the sketchy, half-baked script tosses out there.
  8. Visually witty and even marvelous when it comes to depicting the spectacular creatures evolving at a speed previously known only in the Bible.
  9. This rusted-future comic strip comes at you in shards -- exhaustingly derivative images of mayhem and titillation, with Lee, in her bad-girl bondage gear, as its blank vixen. If you didn't call her babe, she wouldn't exist.
  10. Vantage Point starts to slide off the rails when it tracks a tourist (Forest Whitaker) and his trusty camcorder; instead of Zapruder-like intrigue, the episode has him running around like an agent in a rote thriller.
  11. PA4 develops the story ever so slightly (not enough to satisfy fans) and delivers a few good scares (not enough to satisfy newbies); mostly, it plays like a overlong prologue for the already-in-the-works PA5. Here's hoping this is just the tension-racking lull before the next big scream.
  12. When the bullets are flying, Act of Valor is undeniably tense and thrilling.
  13. The Big Apple of this evanescent tone poem is an invented nocturnal landscape featuring speechifying eccentrics and absurdist moments that feel northern European in sensibility.
  14. The visuals are a kick; the groan-inducing dialogue isn't.
  15. A cloddish, harmlessly drecky comedy from the Sandler factory of crude mush.
  16. A junky thriller that mistakes brute-strength plot twist, showy violence, and the against-type participation of Jennifer Aniston for earned excitement.
  17. Nightwatch is a horror for reasons that have nothing to do with suspenseful moviemaking.
  18. At this point, there's something almost masochistic about the way animators in Japan use cheesy ''Westernized'' heroes to fuel their fantasies.
  19. Lawrence makes you believe in the character you're watching. He does an amazing little piece of acting.
  20. Garish, squeal-pitched preteen comedy.
  21. The result isn't liberated from the stage; it's trapped, with waxworks literalness, onscreen.
  22. Enjoyably dirty-minded sendup of when-ballet-met-hip-hop youth musicals.
  23. Works cleverly because it emerges right out of the everyone's-an-exhibitionist YouTube age
  24. There's unwieldy mess -- but there's also unruly brilliance to this dark and funny story about the havoc that ensues when a man's uncensored Freudian id is allowed the run of the place.
  25. The movie never finds a way to blend the emotional and the rat-a-tat-tat into one seamless package the way that Besson did in his one and only good movie, The Professional (1994).
  26. This toothless thriller...feels like a strained reworking of ''The Fugitive.''
  27. It would be tempting to say that fractured time sequences in movies have become a cliché, except that Wicker Park makes your brain spin in surprising and pleasurable ways.
  28. It's like a pastry that's been sitting on the shelf for 60 years.
  29. Good has a stagy fustiness, but it's worth seeing for Mortensen, who makes this study of a "good German" look creepily contemporary.
  30. The best stuff: Wow, can those kids hoof - and so, even past his half-century mark, can the preening, Chicago-born Mr. F.
  31. As a shameless contraption of ridiculously sad things befalling attractive people, the engorged romantic tragedy Remember Me stands tall between those towering monuments to teen-oriented cinematic misery, Love Story and Twilight.
  32. This clumsy, cheesy, chintzy adaptation, with its F/X that look dated the moment you see them, is like something left over from the '60s.
  33. This rote exorcism-is-real claptrap.
    • 40 Metascore
    • 50 Critic Score
    At two hours and nine minutes, Salinger is at least 40 minutes too long, suffering, just like the book, from its creators' obsessive zeal. Only here, you can't page ahead to the next chapter.
  34. A soporific dud, which should have been tossed out of Sundance.
  35. Branagh shows us the comedy of a man who is too clever to understand that in the guise of dreading fatherhood, he is really at war with how much he longs for it.
  36. As ungainly in its jammed-together East-meets-West-ness as Steven Seagal in a yoga pose.
  37. Stops time, all right -- it stretches 94 minutes into something that begins to feel like infinity.
  38. Leder establishes a syncopated rhythm unlike anything we're used to in a catastrophe spectacle.
  39. And as ever, the jokes are a jumble of the gross, the baggy, the raunchy, the mistimed, and - every once in a while - the refreshingly incorrect.
  40. It wants to be "Good Will Hunting" set in the land of "Entourage," but its bummed-out touchy-feeliness is every bit as concocted as its overly jaded showbiz corruption.
  41. Even those who may agree with Cho's agenda are never allowed to forget that it is an agenda.
  42. Its lack of both originality and any real memorable moments feels shameless and lazy. Adding insult, the movie ends on a cliffhanger, guaranteeing that Insidious: Chapter 3 will soon be coming to a theater near you.
  43. Overstyled pseudo-thriller.
  44. An inept low-budget thriller.
  45. Pushes and pushes and pushes the emotional throttle without respite.
  46. Stuart Townsend, Theron's reallife boyfriend, may have inner fires as an actor that have yet to be revealed, but in Head in the Clouds he's a somber puppy who looks as if Theron could eat him alive. I wish she had.
    • 40 Metascore
    • 67 Critic Score
    The contest is close, but Saw II is just barely a better B flick than "Saw."
  47. Here's a romance without a spark of excitement.
  48. A demented, orgiastically gory vampire/sex parable.
  49. There's only one performer in the movie who looks completely at ease with what he's doing: the horse.
  50. There's no enjoyably outlandish hiss to this variation on the formula, and no Ice Cube or Owen Wilson, either. This time, a ship of capitalist fools (and no movie stars, unless you count utility player Morris Chestnut as a headliner) steams along the river in Borneo.
  51. Despite the occasional dumb fun - especially with the heist portions - the leap of logic required to make it all work is enough to leave your brain pancaked on the sidewalk.
  52. Turns out to be just another dud in the genre of revisionist mysteries that have been messing with our heads since Haley Joel Osment saw dead people. Only this time, the big reveal doesn't so much twist the plot as snap its neck.
  53. The original Day the Earth Stood Still had a paranoid poetry that lifted the audience up even as it warned the world to come together. This one is so dour it just comes off as a scolding.
  54. The Cell is foremost about singular imagery, a succession of still pictures strung together frame by frame.
    • 40 Metascore
    • 42 Critic Score
    A leaden piece of whimsy that looks for profound life lessons among a group of karaoke bar aficionados.
  55. Really, about all that unifies the movie is its inclination to turn little people's dreams into limply ''affectionate'' camp.
  56. In the ranks of improbable gymnastics coaches, Nick Nolte falls just below the cartoon version of Mr. T.
  57. Self-righteous and smug in its use of heartland stereotypes, the movie backfires by assuming that its intended liberal audience is just as intolerant and condescending as the conservative opposition insists it is.
  58. Spectacularly poor judgment in everything from acting to costuming (Olsen's Harajuku-troll get-up is scarier than her curse) puts Beastly right on the cusp of the so-bad-it's-good Hall of Shame.
  59. The effect-laden showdowns feel more dutiful than daring, and the rare moments of fun are parceled out frugally, like precious nuggets of adamantium.
  60. It's fun to watch at first. All that twirling and sliding is a nice change of pace from the usual seat-shaking pyrotechnics.
  61. It works neither as a sweeping historical epic nor as an action-horror hybrid.
  62. Reynolds makes Hal a perfectly functional comic-book hero, but there's a big difference between functional and super.
  63. A cumbersome dud, grows draggier with each new revelation.
  64. It allows for little of the dark and funny in Irving's picaresque morality fable. No room! Not with the buckets of bathos thrown our way, substituting for mass-market spiritual uplift!
  65. Soon enough it's back to stale jokes about spousal date nights.
  66. Sarcastic quips and cynical attitudes abound, maybe as a way for the movie's makers to telegraph that they know this is all just so much kid stuff. But if the characters can't muster genuine awe for their adventure, it's a tall order to ask us to do it for them.
  67. The movie is a somber, smoothly crafted drama about a wily adolescent who senses there's something rotten going on in his country but can't quite put a finger on it.
  68. Jumanji is cardboard Spielberg, a B-movie scrap heap of spare parts lifted from "Jurassic Park" and "Gremlins" and "Back to the Future".
  69. The teachers (including original cast member Debbie Allen as school principal) turn out to be the best part of the show.
  70. There are two sparks of light amid the trifling dialogue and bad faux-'80s love-on-the-beach montages in Havana Nights, and they are the film's costars.
  71. As Zeus, Liam Neeson twinkles where Laurence Olivier kvetched, and Ralph Fiennes, as Zeus' dark brother Hades (who has egged on the revolt to challenge Zeus), has a slinky nastiness.
  72. Ed Helms and Ving Rhames score laughs. But the breakout is "Step Brothers'" Kathryn Hahn as the tough (sales)girl who keeps up with the boys.
  73. In a last-minute tweak, the production has also been meaninglessly 3-D-ified - never mind that there's nothing whatsoever 3-D-ish going on. Maybe those clumsy 3-D glasses are meant to let moviegoers mimic the superhero mask-wearing experience?
    • 39 Metascore
    • 33 Critic Score
    A tired action thriller determined to play the race card every which way for every which kind of viewer, seems hopelessly behind the curve.
  74. Stock farce characters and stale scenes of mayhem fill the downtime between the Martin-Latifah skirmishes.
  75. The character of a scruffy computer nerd, played with might-as-well-enjoy-myself charm by little-known actor Justin Bartha, steals the picture from glossier players.
  76. A moderately popular racing series that the powers that be have tried to turn into a turbo-boosted stunt-car extravaganza of the same make and model as the "Fast & Furious" franchise.
  77. Lane and Gere mime adult courtship with the efficiency of synchronized swimmers. Yet in this ocean of emotion, they look like they're drowning.
  78. There's something about Holly: She's the most ridiculous, irritating, two-dimensional rom-com heroine since...Katherine Heigl's last rom-com.
  79. Most of the film is a chintzy but watchable B-movie knockoff of "Gladiator," with Kit Harington, the English actor from "Game of Thrones," mustering very little in the way of facial expressivity in the role of Milo.
  80. The first, pre-'quake half hour is such a patience-testing slow burn that director Nicolás López runs the risk of extinguishing the viewer's interest altogether. But when things head (metaphorically) south they do so with an escalating, apocalyptic ferocity which continues until the very last second.
  81. Based on a true story, this Indian variation on a theme of "The Burning Bed" emphasizes the psychological freedom the inmate finds behind bars.
  82. Williams turns out to be exactly the wrong candidate for the job, a comedian singularly uninterested in letting anyone else get a word in, but with nothing to say.
  83. Wan, generically pretty adaptation of Alessandro Baricco's 1996 novel.
    • 39 Metascore
    • 25 Critic Score
    Movie is dopey. And with its emphasis on stupid violence, xylophone abs, and getting yourself on YouTube, it's yet another product that makes you feel bad about today's youth culture.
  84. The movie is in love with its own story loops and fancy, pop-dream cinematography from Almodóvar associate Affonso Beato, which is fine; it's also in love with its own indie-culture cleverness, which isn't.
  85. Has a few surprises in store. The biggest is James, an unexpectedly nimble master of the face-plant, the failed jump, and the lopsided tumble.
  86. Washington is wasted here. Kelly Lynch is wooden. Crowe has a ball going over the top, but how much taunting and eyeball popping can a performer do?
  87. Writer-director W.S. Anderson's overseeing of the Resident Evil zombie franchise has proven to be both lunatically haphazard and dementedly enthusiastic.
  88. A parent-and-kid-oriented comedy about the adventures of men doing the hard work of mommies, which couldn't be more timely -- or less delightful.
  89. A ripe psychosexual compost heap of a drama that emits a provocative scent of rot and nonsense.
    • 39 Metascore
    • 50 Critic Score
    Crudup is the best navigator a road movie like World Traveler can have, but even he can't single-handedly transport these goods from nowhere to somewhere.
  90. A well-meaning dud.
  91. The difference between "Pretty Woman" and Runaway Bride is that we can no longer buy Roberts in her tearful romantic-melancholy mode. It seems vaguely patronizing now.

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