Entertainment Weekly's Scores

For 5,804 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 Melancholia
Lowest review score: 0 An Everlasting Piece
Score distribution:
5804 movie reviews
  1. Gerwig can't make her character come alive, though, and neither can Adam Brody as one of their neediest male cases. In the midst of the froufrou, lovely, stalklike Analeigh Tipton (Crazy, Stupid, Love) is delightful as a student who enjoys being normal and living in this century.
  2. The film disappointingly ditches the cartoonist’s modest visual formula for a photorealistic 3-D playground courtesy of the animation studio behind "Ice Age."
  3. From its jokey, one-note characters to its endless baseball montages, A League of Their Own is all flash, all surface.
  4. Trust, the cult-movie view turns precious and smug.
  5. It's all very sub-Tarantino showy and empty - at least, until the head-scratching climax, which tries to be "Eyes Wide Shut," "The Wicker Man," and "The Twilight Zone" all at once, but only makes you wish that you were watching one of them instead.
  6. The British director Ken Loach can be a master of working-class realism, but not in this cranky, rudderless shambles.
  7. The team who made "The Hitchhiker's Guide to the Galaxy" display plenty of whirligig energy, if not much control or lightness of touch.
  8. Cop Car feels like a great short stretched into a mediocre feature.
    • 66 Metascore
    • 42 Critic Score
    Another pulpy Creepshow movie would be more welcome than a second installment of this stiff stuff.
  9. Andy Garcia reminds you of what a cunning, likable actor he can be.
  10. Fourteen years after "Happiness," why is director Todd Solondz still mucking around with the sort of idiot neurotic dweeb who makes George Costanza look like George Clooney?
  11. For a movie about the importance of objectivity, Truth feels like a biased and sanctimonious op-ed column.
    • 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.
  12. 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.
  13. 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."
  14. It only makes you wish for the unintellectual bodice ripper that the movie should have been.
  15. 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.
  16. In Catfish, the camera's-rolling readiness to trawl for drama leaves a slimy aftertaste.
  17. Soderbergh, in essence, has come up with a plodding and far less psychologically arresting version of ''Ghost.''
  18. 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.
    • 65 Metascore
    • 50 Critic Score
    Effective horror relies on the actualization of some deep-seated cultural fear, but Ouija: Origin of Evil supplies only ineffective clichés and half-hearted attempts at franchise building.
  19. A movie overtly designed to win attention (and not to do much else).
  20. 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.
  21. 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.
  22. More and more independent filmmakers seem to be cobbling together characters and scenes that have surface hook and flash without organic emotional logic.
  23. 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.
    • 65 Metascore
    • 50 Critic Score
    The Confirmation becomes a string of father-son misadventures that lack memorable characters or engaging dialogue.
  24. 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.
  25. 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.

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