Entertainment Weekly's Scores

For 5,805 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 3.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 127 Hours
Lowest review score: 0 Crime and Punishment in Suburbia
Score distribution:
5805 movie reviews
  1. Poisonously smug, one-joke indie comedy.
  2. FYI, there's zero chemistry between P.S. I Love You's two commodified headliners. P.S.: The plus in the harsh grade goes solely to the divine Lisa Kudrow, delivering desperately needed laughs as the twitchy widow's husband-hunting best friend.
  3. The fusion of cheekiness and deliberately overscaled fantasy never jells.
  4. A stillborn rendering of Michael Chabon's first novel.
  5. The director, Nora Ephron, displays her peerless gift for making everything seem snappy and mushy at the same time, and Travolta's performance has a slovenly, I-can-do-anything-and-you'll-still-love-me obnoxiousness.
  6. A joke of a title in search of a movie with a single good joke.
  7. Perelman pays such cooing attention to surfaces that our response to violence carries no more importance than our response to the delicate jewelry around the adult Diana's neck.
  8. Even ignoring the racism — which is pretty much impossible — No Escape is a cliché-ridden, artless relic.
  9. The Rite commits the supreme sin of making the devil dull.
  10. The film treats its audience like fidgety junior-high schoolers, piling on the sub-Koyaanisqatsi cityscapes and cheesy episodes with Marlee Matlin as a lonely photographer, plus bouncy cartoons of human cells who look as if they'd be happier chasing stains in bathroom-cleanser commercials.
    • 38 Metascore
    • 33 Critic Score
    Exhibits none of the infectious offhand tastelessness of their hit show and all of the insistent overkill of a Mel Brooks joke gone horribly wrong.
  11. Robin Williams (yes, I'm afraid so) plays a kind of Manhattan-based Fagin with a touch of Midnight Cowboy to his wardrobe. And ants will play havoc in any cynic's pants as this loopy, goopy fairy tale about a kid looking for his parents oozes to its predictable finish.
  12. The second insurmountable problem is the difference between Parker's performance as a fortysomething banker, wife, and mother musing (in voice-over) at her computer and her previous performance as a single, thirtysomething girl-about-town in "Sex and the City": There is none. I don't know why she does it.
  13. If you've been longing to see the worst family entertainment of 1966, A Dog of Flanders may be the movie for you.
  14. The Medallion makes you long for Tucker -- and for Jackie Chan to fly without digital wings.
  15. Tells a moldy-oldie, not-nearly-as-nasty-as-it-thinks-it-is joke. Over and over again.
  16. Might best be described as bereavement porn.
  17. The only pleasure to be derived from the resulting carnage comes from the Rube Goldbergesque chain reactions that precede each fatality.
  18. Cooper, who looks appealingly wolfish in his expensively tailored suits, plays the whole thing with a dutiful, earnest expression lacquered on his face, his eyes misting on cue at the exact same moments yours will be rolling into the back of your head.
  19. Carrey suggests an escaped mental patient impersonating a game-show host-and, what's worse, his hyperbolically obnoxious shtick is the whole damned show.
    • 37 Metascore
    • 25 Critic Score
    Afterlife is slow-moving but relentless, and judging from a post-credits teaser that promises yet another sequel, it has an unquenchable appetite for your brain cells.
  20. Maybe the worst thing that can happen is that every other movie at the multiplex will be sold out this weekend.
  21. For a superior experience, go buy a disturbing-looking doll that says ''Don't go see Annabelle'' when you pull its string.
  22. Each man's shtick swells into a frenzy of overacting.
  23. You realize you're watching a snuff film, where the victim isn't just teen innocence but teen romance.
  24. The United States of Leland is tedious yet infuriating, since its characters, all of whom seem to have emerged from a screenwriter's manual, are like exhibits in a thesis meant to indict the middle class for the crime of its collective dysfunction.
  25. Terminally muddled crime drama.
    • 37 Metascore
    • 33 Critic Score
    This movie has no courage and little brains, and is salvaged, if at all, only by its heart. There remains a huge market for a great Halloween teen comedy, but Fun Size is the disappointing apple that your crazy-haired neighbor gives you instead of candy.
  26. The thin story has been stretched like Silly Putty to feature-film length and the result is utterly see-through in its sledgehammer moralizing.
  27. Taylor Hackford, fails to squeeze the tiniest bit of juice, sexy or comic or otherwise, out of the chintzy-libertine locale.

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