Entertainment Weekly's Scores

For 6,016 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 3.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 All the Real Girls
Lowest review score: 0 What the #$*! Do We (K)now!?
Score distribution:
6016 movie reviews
  1. The third helping of ''American Pie'' offers little more than crumbs. Half the franchise's core cast (including Mena Suvari, Chris Klein, and Tara Reid) chose to skip the big fat geek wedding.
  2. This is one of those films in which the Act of Driving becomes a 10-minute statement of high emptiness; Dumont even manages to make sex in the desert boring.
  3. Horror standbys like mangled corpses and stone-faced children pop up regularly, but sibling directors Charles and Thomas Guard haven't quite nailed the genre's rhythms.
  4. Subplots go nowhere, and characters -- many played by well-known actors -- barely get screen time. Willem Dafoe, Salma Hayek, and Jane Krakowski are among those who are there and gone.
    • 43 Metascore
    • 58 Critic Score
    Feig does wring out a few fleeting fun/heartfelt moments from the minors, and the movie's Christmas treacle is smoother than "Santa Clause 3's." But anyone old enough to go see this without a parent or guardian will have seen it all before.
  5. When we finally do see what happened, it's a genuine shock, a nightmare vision of a hedonist who forged his own hell.
  6. Perry holds back on the finger-wagging, eye-bulging tantrums. There were moments when I was grateful for that. There were others, like the kissy scenes between Perry and Newton, when I began to miss them.
  7. For all its noble intentions, though, the movie struggles to transcend broad outlines: Its characters are strictly symbols, timeworn archetypes of good and evil as threadbare and familiar as the artfully faded calicos and denim on their backs.
  8. Soft sexual and racial jabs replace the more daring political commentary of the original, a crude classic from the Roger Corman factory.
  9. Laughter through tears is director Bill Duke's M.O., and he hits the bull's-eye of that modest target.
  10. The title, Machine Gun Preacher, makes it sound like a piece of grindhouse kitsch - and by the time it's over, you'll be thinking, ''If only!''
    • 43 Metascore
    • 25 Critic Score
    Never mind that the film's portrayal of the mentally ill is on a par with "There's Something About Mary" -- the clumsy moral that we were all better off as hunters and gatherers couldn't be sillier.
  11. A thriller of carefully cultivated murk. It's enigmatic in the worst sense, in that every explanation for what's going on holds less water than the last.
  12. Clumsy camera work adds to the pre-wedding jitters in writer-director Galt Niederhoffer's pashmina-thin drama about attractive self-congratulatory Yale alumni gathering for the nuptials of two of their own.
  13. Can these banal relationships between undifferentiated lovelies be saved?
  14. Undoubtedly a trifle, but it's still kind of nice for a summer movie to try charming us instead of just bludgeoning us into submission.
  15. It hardly helps, of course, to have no characters to root for. What is it about Pierce Brosnan? He's got dimples, grace, charm; he's not a movie star, exactly -- he looks as if he should be hosting something.
  16. The whole movie is pat -- very pleased with itself for being so up front about the ways of a 21st-century man-whore.
  17. Purpose itself plays like a family film from another era, its gentle sensibilities a million miles removed from the winky pop culture references and meta layers of most modern all-ages entertainment. The effect is sweet, benignly retro, and just a little bit boring; a comforting Milk Bone for the soul.
  18. Sometimes clever and enjoyable, even touching, yet too often the film makes you feel as if you're in Sunday school.
  19. Ellen Barkin provides unexpected diversion in a madwoman cameo as the PD's brassiest brass. But otherwise the clichés keep coming.
  20. Cronenberg directs this doomed romance in the same flat, claustrophobic, night-of-the-zombies style he employed in ''Naked Lunch''; as a dramatist, he's still stuck in Interzone.
  21. It’s a movie that desperately wants to be timely and relevant, warning us about the Brave New World threats we all face when it comes to privacy, surveillance, and freedom. But it’s so cartoony and ham-fisted it sabotages its own argument.
  22. The whole thing feels like the pilot episode of a third-rate comic-book vigilante TV show.
  23. Creator producers Paul Germain and Joe Ansolabehere have come up with some unexceptional children and underdeveloped adults.
  24. Croft is one humorless butt-kicker. Excavations in exotic lands have rarely looked so much like items on a to-do list.
  25. The film's generic feminism pales beside its bloated sense of privilege, only underlined by a nonstop cabaret of sideshow acts.
    • 43 Metascore
    • 50 Critic Score
    Quiet and sleepy.
  26. Feast isn't quite demented enough to reach Raimi-an heights, but Gulager uses parts of the monster-movie buffalo even the buffalo didn't know existed.
    • 43 Metascore
    • 25 Critic Score
    This predictable film wouldn't be effective anywhere outside a DARE program.
  27. The movie has no wit, no charm, no cleverness, no traction. Simply put, it is no fun.
  28. Aniston has a great time as the vampy, Krav Maga-ing Bitch Who Stole Christmas, and Miller’s willful idiocy is weirdly endearing.
  29. Sadly, rather than melding the best of two worlds, the film only takes the worst of their soap operas.
  30. A sad-but-hopeful, dramatic-but-gentle fairy tale intentionally made less upsetting for teens.
    • 42 Metascore
    • 50 Critic Score
    G
    "The Great Gatsby" was famously bungled in the pulseless 1974 movie with Robert Redford. G, which updates the story with an African-American cast, is another strikeout, further destroying F. Scott Fitzgerald's film batting average.
  31. Snoop invests snarling meanness with as much authority as Clint Eastwood used to. As an actor, does this Dogg know any more tricks? At this point, he may not have to.
  32. Deliberately quaint and old-fashioned, a once-over-slightly exercise in nostalgic wonder directed by the British-born great-grandson of H.G. Wells, who treats the spirit of his ancestor's novel with literal-minded fealty.
  33. Schlock weeper.
  34. Amusing in its very shallowness.
  35. The movie is so hilariously sly about something so fetishistically trivial that at times it appears to take in an entire culture through a lens made of cheese.
  36. By not trying too hard, this remake of a dumb movie has got spring in its step. The bounce is on us.
  37. It turns out that Joe ends up liking the old Joe better too. Who just so happens to be the kind of average-Joe character that continues to make Allen such a tidy, non-Joe bundle.
  38. Taken for what it is, Insurgent is a vast improvement over the franchise’s first installment, mostly thanks to expansion in two arenas: budget and scope.
  39. As we go deeper into the cave, walls squeezing, water rising, the movie has a narrative pull as sure as gravity.
  40. Evenness of political keel, combined with a generic filmmaking style, is an artistic weapon way too puny for a successful assault on so tough, bruising, and crucial a subject.
  41. Won't Back Down says that whatever your feelings about the subject, lack of change cannot be the answer to our public-education crisis. Trying to cram an informational exposé and a vintage inspirational awards-bait weeper into one movie, Won't Back Down is awkward at times, yet it's also passionate in a surprisingly smart way. It makes a genuine drama out of impossible issues.
  42. Adrien Brody completists will appreciate Love the Hard Way, if only as an example of the kind of self-conscious, brat-noir projects their man probably won't be doing anymore.
  43. Daredevil is the sort of half-assed, visually lackadaisical potboiler that makes you rue the day that comic-book franchises ever took over Hollywood.
  44. The gimmick in The Abandoned is that people battle their zombie doubles, whom they can't kill, since they'd be killing themselves. But the movie sinks so deep into deathly atmosphere that there's no life to it.
  45. Watching it all unfold and slowly go off the rails, you can't help but wonder what Pfister's mentor, Nolan, might have done with the same material. My guess is he would have sent the script back for a Page One rewrite for starters.
  46. As a movie, Trade is so-so, but as an exposé of how the new globalized industry of sex trafficking really works, it's a disquieting, eye-opening bulletin.
  47. There’s a reason that it lacks the highs of "Wedding Crashers": The Internship puts us on the side of those who are trying to hold on to respectability, not tear it down.
  48. The plot may be fairly predictable, but Harrelson goes all in as the deranged preacher, and he’s a delight to watch, whether he’s wiggling his eyebrow tattoos or prancing about town on horseback, dressed in an all-white suit. Hemsworth, on the other hand, remains monotone.
  49. A half hour in and still, the plot, tone, and setting are incomprehensible.
    • 42 Metascore
    • 75 Critic Score
    It’s the confidence and energy of the four leads that keep the comedy moving forward.
    • 42 Metascore
    • 75 Critic Score
    Bourne it is not, but the twists come with enough regularity to keep the squishier parts of the plot from mucking up the works.
  50. Just when you think you know where Burnt is headed, there’s an underhanded twist about halfway in. And it’s almost enough to set the movie right.
  51. The most unexpectedly audacious, exhilarating, wildly creative adventure thriller I've seen in ages.
  52. Knows what it needs to do for both its stars, does it, and doesn't make a federal case about it. I'd watch these two together again in a New York minute.
  53. Provokes a suspense halfway between comedy and horror. I'm not sure if I enjoyed myself, exactly, but I could hardly wait to see what I'd be appalled by next.
  54. Has no pretentions to be anything more than a goose-bumpy fantasy theme-park ride for kids, but it's such a routine ride.
  55. The film has flashes of psychedelic visual energy, but its story is limp.
  56. The movie is a morals-free procession of bang bang bang! and blood blood blood!, and men slamming each other with blunt objects and slicing each other with blades.
    • 42 Metascore
    • 67 Critic Score
    Anders had many opportunities to pit the dads against each other directly, but trades in the cheesy, expected route for devious mind games.
  57. Slipshod rather than sly. There's no fury to the movie, repressed or otherwise, which may be why when the Revolution arrives, it has all the impact of a guillotine with a deadly dull blade.
  58. Director Chris Columbus...seals this comedy in an impenetrable bubble of hollow humanism.
  59. It barely boasts enough funny material to fill four minutes.
  60. Aggressively drab and granular, the movie feels like a late-'80s AIDS passion play given an ill-fitting post-Sept. 11 makeover.
  61. At no time do the men -- that is, the straight ones -- believably hold the upper hand. In the new town of Stepford, there's no bitterness, no struggle, no competition, none of the scars of the sexual revolution. There's just gay apparel.
  62. The goons themselves, though, look rather chic, flying through the air in Galliano-goes-to-hell garments straight out of Vampire Vogue.
  63. Emily Bergl plays the misfit heroine -- pale Goth grrrl Rachel Lang -- with a nicely sulky empathy, equal parts hurt and hope.
  64. Austenland is kind of a one-joke movie, and the film's rhythm is a bit flaccid, but the joke, at least, has a twinge of wit.
  65. The Great Wall looks like it could be a really amazing video game. Alas, it’s a movie, and kind of a brick.
  66. The first thing to say about The Bucket List is that Rob Reiner is the rare director who can take all the wonder out of one of the seven wonders of the world.
  67. Doesn't just wink at De Niro's history, it leans on it, hard.
  68. Trite lessons are learned. Plotlines play out in familiar arcs. A few blips of sex and drug use aim to make the movie feel more grown-up. Instead, they make it off-limits to the only age group likely to find any charm in its smug Britcom cutesiness.
  69. The surprisingly puny haul comes from the jolly, usually sparkling comedy workshop of David Dobkin, who directed "Wedding Crashers," and Dan Fogelman, who wrote "Cars" -- two great movies that both make better stocking stuffers.
  70. A ''fun trash'' movie that's more trash than fun.
  71. The most frightening sight, though, is that of Theron and Bacon, good actors trapped in the muck of making a living.
  72. Bay doesn't stage scenes, exactly -- he stages moments.
  73. By the end, I was starting to ponder questions like, If a vampire mates with a lycan-vamp hybrid, which parent will have to convert?
  74. Is any of this, you know, fun? Just barely. But I'm sure I would have loved it at 6.
  75. Dark of the Moon is hardly a fleet production, but here Bay makes his best, most flexible use yet of all the flamboyant bigness at his command: Computer-drawn characters and human actors seem to occupy the same narrative for once.
  76. The movie doesn’t grab you emotionally, but director Atom Egoyan (Exotica) teases apart the case’s details with grim fascination.
  77. Broody fun.
  78. Battle of the Smithsonian has plenty of life. But it's Adams who gives it zing.
  79. A pointless but ultimately harmless family adventure that doesn't mentally assault the 12-and-over set. (Extra points for being 100 percent fart-joke-free).
  80. With so much flesh crunching and bloodletting, it could have been scary as all Walking Dead get-out. Instead, the movie plays safe by cutting every theme down the middle - a swing that's effective when splitting wood or vampire skulls, but dull when applied to filmmaking.
  81. Orphan isn't scary -- it's garish and plodding.
  82. This remake is merely vile (and dull).
  83. An immediately forgettable action pic directed with a blowtorch by Lee Tamahori.
  84. The latest reshuffling of "Chainsaw" tropes.
  85. It does possess a certain backward-glancing innocent appeal.
  86. The Boy, from director William Brent Bell, aims to set itself squarely in the fictional canon of "Chucky" and its brethren, but it ends up trying to do so much that it forgets to scare us.
  87. Mariah Carey is perfectly fine playing a waitress who dreams of becoming, yes, a singer -- even if the superstar's presence in such a small venture seems jarring.
  88. As silly and sometimes nonsensical as it is, the movie is surprisingly sweet and well-intentioned.
  89. A movie so unhinged it practically dares you not to hate it.
  90. Between cycles of gunfights and glowering, Yun-Fat displays some of the dignity and suave good looks that account for his star status (without much chance to show his wit).
  91. The pond is so shallow in this wan romance that there's no room for anything to float.

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