Entertainment Weekly's Scores

For 5,467 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 Ponyo
Lowest review score: 0 Bigger Than the Sky
Score distribution:
5,467 movie reviews
  1. Trying for a dark-toned comedy of familial mishap, Keaton dips into the sentimental fraudulence.
  2. The House of Sand's director, Andrucha Waddington, lays on the Awesome Visual Poetry and throws in a welter of story gimmicks, but it's all a bit too fancifully arid.
  3. Traffics in the coyly blasphemous, aren't-we-dysfunctional family-disaster chic that has become the single most annoying trend in independent filmmaking.
  4. Nothing in the two snail-paced hours of Pulse makes close to a shred of sense?
  5. There's no denying that Washington can play a rococo villain with flip ebullience, but I fervently wish he were doing it in a movie that paid more than lip service to the real world.
  6. The quaint racial blinders are really on the eyes of the filmmaker, Peter Hedges, who shoves his characters into the narrowest of sitcom slots and seals them there.
  7. Really, I think we put up with Lars at all only because Gosling has such an affinity for the wounded boy birds he tends to play that it's easy to watch him do his thing.
  8. Pucci proves to be one of the most charismatic male ingenues since Johnny Depp.
    • 69 Metascore
    • 58 Critic Score
    It's a very tony fantasy of class oppression and fascist medical exploitation (themes that may speak louder in England), but it's a lyrically inert movie.
  9. Lee's images of black and white stereotypes are agreeably silly yet altogether too thin and vanilla safe.
  10. Director Gaspar Noé proved a shock poet in "Irreversible" (2003). In Enter the Void, he's a shockingly tedious show-off.
  11. What starts off as a promising indie about a couple (Jake Johnson and Rosemarie DeWitt) trying to balance their own needs versus their partner’s quickly goes south in director Joe Swanberg’s latest meditation on aging-hipster malaise.
  12. Ang Lee's bloody but dramatically anemic depiction of the American Civil War as fought by boys without uniforms.
  13. The Farrellys may well be the new kingpins of adolescent slob comedy, but There's Something About Mary doesn't approach the witty anarchy of movies like "Animal House," "The Naked Gun," or "Hairspray."
  14. What is surprising is how little Polanski juices the material with his usual devilish touch.
  15. It's all way too heavy-handed, though nicely acted by Hirsch, Culkin, and, especially, Jena Malone.
  16. Predestination's pace is too slack, and the brothers are so painfully tentative as storytellers that the easily guessed big twist gets three separate reveals.
  17. Like a blue plate special at a theme diner, Sunshine State comes with a lot of overdone side dishes thrown on the table at the same time.
  18. Too chicly depressive -- and, for the most part, too dull -- to bear.
  19. The Go-Getter travels, but it doesn't go anywhere.
    • 69 Metascore
    • 50 Critic Score
    Feels like a nonstarter.
  20. Overheated yet bizarrely opaque criminal character study from Belgium.
  21. There's a certain breed of annoying indie movie in which a character's shyness is portrayed in a manner so coy that it becomes a reverse form of exhibitionism. Jump Tomorrow is that kind of movie.
  22. Shanley turns out to have dismayingly few original cinematic notions to back up the basic did-he-or-didn't-he hook in his study of conviction and compassion.
  23. It's as if, in exploring the scars that shape these personalities, Téchiné has forgotten to color in the flesh.
  24. Even a filmmaker as dazzling as Steven Spielberg has to create characters who lure us into their point of view, and the trouble with Tintin is that we're always on the outside, looking in. What all that motion can't capture is our hearts.
  25. With her sad, haunted eyes and ''plain as a tin pail'' looks, Swank is by far the best thing in the movie. More than most actresses, she seems unburdened by vanity.
  26. It's slow and pretentious, full of craggy Bavarian snowscapes and dour "mystical" portents that seem to circle back to nothing but themselves.
    • 68 Metascore
    • 58 Critic Score
    The movie adaptation suffers the symptoms of so many stage-to-screen transplants: What seemed thrillingly big and bold in live performance comes across shrunken and hemmed in when "opened up" to fill a feature film.
  27. Further sad evidence that Tom Tykwer, director of the resonant and sense-spinning ''Run Lola Run,'' has turned out to be a one-trick pony -- a maker of softheaded metaphysical claptrap. It's enough to make you want to see him run again.

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