Entertainment Weekly's Scores

For 5,511 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 Lebanon
Lowest review score: 0 Ace Ventura: Pet Detective
Score distribution:
5511 movie reviews
  1. Zoo
    You could wander into this poetic documentary willing to be sympathetic toward its subject -- men who have sex with horses -- and still find Zoo cryptic and borderline bogus.
  2. There may be nothing more fun for actors than experimental exaggeration, especially when filming on a Caribbean island. But there’s nothing that makes an audience feel less welcome than not being in on the joke.
  3. Ari Folman's meta-commentary on Hollywood in the soulless digital age starts off promisingly, like a Charlie Kaufman mind scrambler. But then it spirals into logy animated nonsense.
  4. With Green Zone, though, the malaise has finally hit me. So while Damon's Miller uncovers the (inconvenient) truth of why the U.S. invaded Iraq in 2003, all I want to know is: How does he suggest we get out?
  5. Depression is a fair subject for a movie, but this much moroseness shouldn't come to this little.
  6. The trouble with the movie is that there's nothing to Muriel but her false dreams: We never quite glimpse the woman they're hiding.
  7. Adams, of course, is a peach. Her sparkle requires only minor character adjustment and twinkle recharging from her recent triumph as the old-fashioned modern heroine in "Enchanted."
  8. Rio
    The soundtrack, overseen by Sergio Mendes, has a few lively bossa nova moments, but not nearly enough.
  9. No matter what panache Bier adds, Things We Lost is still a TV-scaled tear-duct drama about a beautiful woman who pushes past sadness in her House & Garden home.
  10. Smith's book is a charmer, but the keys to this ''Castle'' have been misplaced.
  11. Mostly comes down to rage fiends going at one another with baseball bats, knives, pesticide tanks, and power drills.
  12. The movie is overplowed, even if Brad Pitt's debut as a Coen comedy player is eye-catching.
  13. Life desperately wants to let Murphy and Lawrence be actors, but it can't imagine them as anything more than rowdy showmen. That's a kind of prison as well.
  14. Timing is everything. And Youth in Revolt is late -- arriving not just at the tail end of the star's sell-by date for this particular kind of character, but more importantly at the tail end of the intended audience's attention span for an inconsequential Sundance-y tale of sexual coming-of-age.
  15. This unexceptional 1970s coming-of-age story is neither outrageous, new, nor comedic.
  16. Godard, as always, sounds full of insight, yet he uses the past to damn the present in a way that may be reflexively self-serving. In Praise of Love leaves a taste as bitter as poison ash.
  17. A collection of shorts, here presented as flashbacks. All three derive from A.A. Milne's original tales, but retain only a smidgen of his droll, easy-chair wit.
  18. The movie, a piece of luridly baroque metaphysical trash, is about a Vietnam veteran who keeps getting jolted by demonic visions.
  19. Killer Joe throws down a dare by expecting its audience to be the cool connoisseurs of the story's "comic" outrageousness, then rubbing viewers' faces in close-up scenes of brutality that reasonable people ought not to be able to watch. That up-close experience, however effectively done, is a movie specialty that's its own kind of mean.
  20. Wrings laughs from the antics of affable, eccentric villagers who cheerily break the law.
  21. Has the dubious distinction of being just about the mildest porno comedy ever made. It's like something the teenage Pedro Almodóvar might have written to shock his 10th-grade creative writing teacher.
  22. A feel-good movie that doesn't give you enough to feel good about.
  23. Scottish actor Peter Mullan saves a drama tangled in the seaweed of life lessons from drowning in pathos.
  24. Isn't nearly as cheerily unpleasant as it ought to be.
  25. By the end, every child in the audience will want his or her own monster-minion toy. Adults will just regret the way that Despicable Me 2 betrays the original film’s devotion to bad-guy gaiety.
  26. Ted
    And yet. And yet, Gawd help me, the always surprising Mark Wahlberg throws himself into his thespian adventure with such radiant wacko energy, so full of Boston beans, that Ted is also kind of, well, impressively nuts.
  27. Directors Zeke and Simon Hawkins add air-quote references to Jim Thompson, Steven Soderbergh, and the Coen brothers but are too proud of the movie's twists to make them truly snap. Call it "Blood Simple-ton."
  28. Scott Sommer's late-1970s coming-of-age novel, with little of the vivid specificity of "Mean Creek," even though the two share a screenwriter and a producer.
  29. In The Dreamers, Bertolucci wants to take us back to a more revolutionary time, but mostly he ends up recalling the faded revolution of his own glory days.
  30. Incident at Loch Ness, unfortunately, is a riddle wrapped in a hoax stuffed inside a crock.

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