Entertainment Weekly's Scores

For 5,929 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 3.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Dawn of the Dead
Lowest review score: 0 Boat Trip
Score distribution:
5929 movie reviews
  1. 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.
  2. Too chicly depressive -- and, for the most part, too dull -- to bear.
  3. The Go-Getter travels, but it doesn't go anywhere.
    • 69 Metascore
    • 50 Critic Score
    Feels like a nonstarter.
  4. Beyond is more fun than deep. It’s lightweight, zero-gravity Trek that is, for the most part, devoid of the sort of Big Ideas and knotty existential questions that creator Gene Roddenberry specialized in.
  5. Overheated yet bizarrely opaque criminal character study from Belgium.
  6. 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.
  7. 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.
  8. It's as if, in exploring the scars that shape these personalities, Téchiné has forgotten to color in the flesh.
  9. 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.
  10. 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.
  11. The visual effects are excellent, but director Roar Uthaug, who’s been tapped to reboot the "Tomb Raider" franchise, splashes in the clichés of big, dumb American action movies.
  12. The Hateful Eight doesn’t have enough ideas. Set almost entirely in a snowed-in saloon, the story’s so spare it doesn’t warrant either its three-hour running time (including an overture and intermission) or his use of 70mm projection. It’s narratively and visually claustrophobic.
  13. 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.
  14. 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.
  15. It has a few whispers of intrigue, but at the heart of The Bourne Identity lies a dispiriting paradox: The more that Jason Bourne learns about himself, the less arresting he seems.
  16. There are funny bits in Amy Heckerling's high school sat-ire, but the characters are teen-movie zombies with no discernible personality apart from their trendoid obsessions.
  17. It would be nice to see a sharp, funny, penetrating satire of the new, kicked-up culture of empty media fame, but Tom DiCillo's scattershot buddy movie Delirious isn't it.
  18. True to his stolid, humanist instincts and characteristically stodgy directorial style, writer-director John Sayles creates a story more educational than engrossing.
  19. The director's famously over-deliberate, pause-laden style verges, for the first time, on amateurville, and that gives us too much time to linger on the movie's more bizarre details.
  20. It's a slow-burner that burns so slowly its wick completely fizzles out.
  21. Too often, Purple Butterfly is as impenetrable as Zhang's placid, obdurate beauty.
  22. Starts out well, but it turns into an almost perversely undramatic legal thriller.
  23. Noah is a movie about big ideas (environmentalism, heavenly obedience versus earthly love) and even bigger directorial ambitions (how to tell a personal story on the grandest of grand scales). But, in the end, it's also a disappointment. Maybe not one of Biblical proportions, but a disappointment nonetheless.
  24. The movie is Drew Barrymore's directorial debut (she also plays fellow Hurl Scout Smashley Simpson), and it's clear she's more attuned to grrrlishness than real athletic power.
  25. The lack of drama and heat keeps Z for Zachariah joyless without much despair. It’s the end of the world as we know it, and you’ll feel bored.
  26. Feels cramped and underimagined. I think Judge is capable of making an inspired live-action comedy, but next time he'll have to remember to do what he does in his animated ones--keep the madness popping.
  27. Neither star is sloppy, but both are loose and mellow -- a couple of pros who know they're the whole show.
  28. Spike Lee noisily attempts to place the hunt for real-life serial killer David Berkowitz at the center of a hotheaded sociological fantasy linking disco glitz, punk rebellion, ethnic insularity, sexual craving, and sizzling heat into one rattling chain of urban hysteria.

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