Entertainment Weekly's Scores

For 5,890 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 Bukowski: Born into This
Lowest review score: 0 My Date with Drew
Score distribution:
5890 movie reviews
  1. A celebration of the theater that tends to drag the moment it's out of drag.
  2. Strangely inert drama.
  3. There is every reason to learn about the link between jewels and death, by all means, but no reason to try to disguise a term paper as entertainment.
  4. A shaky piece of work, with stumpy cinematography, choppy edits, speechy dialogue, and loose plotlines. And yet: There's an easygoing authenticity to the depiction of Kenya and her world that coexists with the picture's many weaknesses.
  5. That's the moral nut of this highly unexceptional episode, a midlife production in which each Enterprise crew member does his or her vaudeville act.
  6. Has the taint of exploitation.
    • 64 Metascore
    • 42 Reviewed by
      Ty Burr
    The novel is a sharp, Dickensian comedy; the film is just plain dull.
  7. There are flashes of wit -- Speedy Gonzales muttering about political correctness and an arty chase through the Louvre. But there is also random flatulence, a.k.a. the stink of desperation.
  8. Overworked if heartfelt indie.
  9. Shortbus is chipper, it's fresh, it emits a distinct musk of controversy. I'll take the longbus.
  10. You see the pattern here? Winter-release slot + travel budget + Liam Neeson = slightly preposterous, routinely violent, apparently lucrative action movie in which the Irish-born star signals inner emotional conflict with his handsomely mashed boxer's face while settling outer physical conflict with his boxer's fists.
  11. Green is officially the world’s best actress in bad movies.
  12. If you think it all adds up to a bald-faced rip off of ''The Shining,'' you'd be right, with a crucial difference: Wendigo trades the puffed-up metaphysics of middle-class murder for the no-budget spectacle of...an incredibly fake-looking monster deer.
  13. It would be hard to imagine a filmmaking style as serious yet lazy as the earnest vérité bobbing and weaving employed by La Petite Jérusalem.
  14. Achieves the near-impossible: It turns the Marquis de Sade into a dullard.
    • 63 Metascore
    • 42 Critic Score
    Pierson, with his carrot-thin frame, gogglish specs, and gnashingly quick temper, traipses around Taveuni like the king of the white-man geeks, alternately proclaiming the saintliness of his crusade and throwing tantrums whenever somebody else fails to sufficiently recognize it.
  15. The film has a stunningly hypnotic look thanks to Zach Kuperstein’s crisp black-and-white ­cinematography. It feels like a waking nightmare. It’s just enough to make you wonder how a film that’s so ugly managed to look so damn good.
  16. This steam-driven military weapon of an enterprise is a sobering reminder of just how tinny a musical Les Misérables was in the first place.
  17. The movie is funny when it's nasty, as when Ron and Veronica trade insults at the anchor desk. Most of the time, though, it's not nasty enough.
  18. The trouble with Changeling is that it plays less like reality than like a bare-bones, moralistic rehash of other, better movies, such as "L.A. Confidential" or "Frances."
  19. 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.
  20. 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.
  21. 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.
  22. 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?
  23. Depression is a fair subject for a movie, but this much moroseness shouldn't come to this little.
  24. 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.
  25. 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."
  26. Rio
    The soundtrack, overseen by Sergio Mendes, has a few lively bossa nova moments, but not nearly enough.
  27. 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.
  28. Smith's book is a charmer, but the keys to this ''Castle'' have been misplaced.

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