Entertainment Weekly's Scores

For 5,936 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 I'm Not There.
Lowest review score: 0 Crime and Punishment in Suburbia
Score distribution:
5936 movie reviews
  1. The gruesomely unnecessary remake of The Texas Chainsaw Massacre is such a smorgasbord of slimy grunge that to call the movie gross wouldn't do it justice -- it's downright sticky.
  2. After ''Seven'' and three ''Hannibal'' hits, the audience tolerance for baroque serial-killer flourishes has been duly amped. We require sustained creativity in our sick violence, and Taking Lives, after a token bit of ghastly foreplay, loses its life.
  3. This is a movie so devoted to metal that it couldn't care less about the flesh it destroys.
  4. 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.
  5. Entourage, the show and the movie, is about five insanely lucky knuckleheads who have each other’s backs in a town that’s more likely to stab you there.
  6. The story isn’t just confusing, it’s a betrayal to anyone who’s invested brain cells in the Terminatorverse over the past 31 years.
    • 38 Metascore
    • 42 Critic Score
    Though the movie, which was adapted from a book written by Christopher Paolini when he was a teenager, aims high by ripping off the classics (even down to Eragon’s murdered uncle), what it most recalls are the cheesy lost sword-and-sorcery epics from the '80s, awful movies in the vein of "Yor: The Hunter From the Future" and "The Blade Master."
  7. Written by Mr. ''Full Monty'' himself, Simon Beaufoy, and, like ''Monty,'' sprinkles pixie dust over the heads of worn out local folk.
  8. Leguizamo owns Empire, the first film to capture the live-wire crackle of his one-man stage shows -- He's front and center in nearly every scene, and he holds the screen with a simmering self-assurance.
  9. The same money-minded dreamers who found a way to ''Return to Neverland'' have hacked a path back to Baloo heaven.
  10. Bad Boys II proves that it's possible to pack a movie with so much popcorn that it leaves the audience overdosed.
  11. Like other movies of its ilk, it's missing a very simple bit of next-level Hollywood technology: a tripod.
  12. The Green Inferno is less a riff on spaghetti splatter flicks like Cannibal Holocaust than a desperate-to-shock pastiche of guts and gore served with a wink to audiences with strong stomachs. You know who you are.
  13. The unnecessarily famous cast for such a standard, creaking, fake-spooky ghost story (with Bible verses thrown in for good measure).
  14. Alas, the flimsy plot -- less a whodunit than an isn't-it-screamingly-obvious-that-that-guy-done-it! -- will have thriller fans singing the blues.
  15. No one involved in Resurrection seems like they can be bothered to break a sweat. It’s a movie made by folks who know they can do better but couldn’t be bothered.
  16. A joke of a title in search of a movie with a single good joke.
    • 38 Metascore
    • 58 Reviewed by
      Ty Burr
    Forgoes the destructo silliness of the original in favor of one too many bland self help subplots.
  17. Radio is assembled from small, hard stones of ignorance and intolerance paved over by large, mushy examples of community goodness.
  18. Almost everything that frames the drug dealer's tale is facile and second-rate. Simply put, you don't believe it. What you do believe is DMX's cruel charisma.
  19. 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.
  20. Within the pungent field of other wide-release scare jobs and films derived from cardboard-based time-killers for kids, Ouija stacks up relatively well, thanks to its look and a confident performance by Cooke.
  21. Even ignoring the racism — which is pretty much impossible — No Escape is a cliché-ridden, artless relic.
  22. Breathless and petite yet powerfully in-your-face, Fisher combines dizzy femininity and no-nonsense verve in the manner of a classic screwball heroine. She's like Carole Lombard reborn as a tiny angel-faced dynamo.
  23. The utter lack of originality eventually sinks the movie.
  24. Ellis (The Good Wife's Graham Phillips), an alienated teen, smokes weed and hangs out with a goat-obsessed, pot-cultivating surrogate father (David Duchovny, hidden by hair). New Age details aside, though, Ellis is easily identifiable as a distant cousin-by-genre to J.D. Salinger's Holden Caulfield.
  25. The Rite commits the supreme sin of making the devil dull.
  26. Messy and scattershot, with a plot that's little more than a dirty version of ''Flubber.''
    • 38 Metascore
    • 50 Critic Score
    Slick, fact-based, missionary-themed drama.
  27. Operates on such outdated, unimaginative conventions of movie chemistry that Moore and Brosnan end up appearing older and stodgier than necessary.

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