Entertainment Weekly's Scores

For 5,466 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:
5,466 movie reviews
  1. The best thing in the movie is Arterton's sultry, claw-baring turn, but mostly it's a rudderless riff on "Let the Right One In."
    • 66 Metascore
    • 58 Reviewed by
      Ty Burr
    It's a little short on coherence and long on comic-book sensationalism -- dig the hokey, climactic Battle of the Minds between the hero and a cadaverous Mr. Big -- but there's no denying the nightmarish pull of the film's aesthetic.
  2. Turns out to be the portrait of a serial yo-yo dieter, an impression enhanced by the 60 year old Berlin, who suggests less a former depraved scenester than a calorie compulsive Martha Stewart grown bored with good taste.
  3. It only makes you wish for the unintellectual bodice ripper that the movie should have been.
  4. For a while, the atmosphere seems just right. As Mrs. Parker goes on, it becomes apparent that the one-liners, droll as some of them are, aren't really going to coalesce into characters, scenes, dramatic encounters.
  5. In Catfish, the camera's-rolling readiness to trawl for drama leaves a slimy aftertaste.
  6. Soderbergh, in essence, has come up with a plodding and far less psychologically arresting version of ''Ghost.''
  7. Grace Is Gone grabs on to a name, a war, and the metaphor-come-to-life of a theme park with rides going nowhere. And we, the people, are spun around and shaken for tears.
  8. A movie overtly designed to win attention (and not to do much else).
  9. Puss in Boots is beautifully animated (with 3-D that adds nothing), but the film is so mindlessly busy that it seems to be trying to distract you from the likable, one-note feline swashbuckler at its center.
  10. Still, just about everything in Goldeneye, from its rote nuclear-weapon-in-space plot to the recitation of lines that sound like they're being read off stone tablets (''Shaken, not stirred!''), has been served up with a thirdhand generic competence that's more wearying than it is exhilarating.
    • 65 Metascore
    • 58 Critic Score
    It's earnest, solemn stuff. The movie sings an old tune -- Albert Finney is the blind minister who wrote the title ditty -- and it leaves the blood unstirred.
  11. More and more independent filmmakers seem to be cobbling together characters and scenes that have surface hook and flash without organic emotional logic.
  12. Waving a dubious flag of feminist inclusivity, Cole and screenwriter William Ivory turn cartwheels insisting that girl power, even in the 1960s, trumped class divisions.
  13. It doesn't quite wash. Guédiguian has a telling instinct for the buried shame of working-class squalor, but his film is inflated with a doom that feels programmatic rather than earned.
  14. Soon enough a pointed ode to New York City nerve-rack and survival skills dissolves into a far more average, less compelling, and sometimes just slapdash-vicious cat-and-mouse game.
  15. The young cast is terrific, giving the stories unearned weight.
  16. Kevin Bacon's passionate, sharply drawn portrayal of Billy Magic, a slick, finger-snapping, payola-pocketing disc jockey in early 1960s Cleveland, is the best thing about this conventional but heartfelt semiautobiographical coming-of-age story
  17. A Soldier's Daughter Never Cries is suffused with a rarefied emotional glow, and that's something contemporary audiences may be almost desperate to respond to. Yet the movie is also tentative, rambling, and maddeningly shapeless.
  18. As long as Norton plays Harlan as a modern-day Joe Buck, a kind of four-in-the-afternoon cowboy, we're drawn by his waltz of innocence and vagueness. But Down in the Valley turns out to be one of those films with a thick, gummy overlay of Western ''mythology.''
  19. A major disappointment. Bleak, brutal, and ultimately pointless.
  20. Cotton candy story with an acrid aftertaste.
  21. Filmmaker Jared Hess (who cowrote the script with his wife, Jerusha Hess) installs Napoleon front and center as a punchline in and of himself -- and as that dispiriting product of narrative defeat, a symbol.
  22. Cold Weather becomes the world's first mumblecore "thriller" - a good idea for a movie that someone, in the future, should execute a bit less lackadaisically.
  23. The hothouse drama Mother and Child is organized like a femme-friendly spa that specializes in treatments for the psyche rather than the skin. Soft New Agey music tinkles intrusively. Sore spots are prodded and massaged. Clients pass one another in the changing room. The ritual is exquisite to some, and excruciating to others.
  24. So willfully bleak and profanity-filled, it could only have been written and directed by an actor.
  25. The upshot is that those who appear to be guilty may not be -- a muddled message for our time.
  26. Pooh's Heffalump Movie is a harmless little ''ex-po-tition'' (to use a Pooh-ism). Still, making this your kids' first Pooh experience would be like weaning them on New Coke.
  27. Sokurov's new companion piece (to "Mother and Son"), has the tedium without the trance.
    • 64 Metascore
    • 58 Critic Score
    The way that Aranoa so clearly venerates his lively women feels Almodóvar-esque, but the movie aims most of all to suggest that hookerdom is hell -- and it's neither realistic nor unsentimental enough to pull that off.

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