Entertainment Weekly's Scores

For 6,104 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 2.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Exit Through the Gift Shop
Lowest review score: 0 Annabelle
Score distribution:
6104 movie reviews
  1. Doesn't have much time for refinement of image or elegance of plot. What it's got instead is an insider's feel for the local, excitable hoodlum life and speech.
    • 44 Metascore
    • 50 Critic Score
    Peddles the usual carpe diem movie bunk.
  2. Director John Maybury has a feel for shock rhythms, and he's skillful at keeping you guessing, but after a while you want your questions to cohere into compelling answers, and in The Jacket they don't, quite.
  3. Even the film's one "original" twist is just a desperate attempt to link it up to Ghost Rider, the only lousy Nicolas Cage action film that is actually spawning a sequel.
  4. In My Country doesn't so much explore as use the tragedy of black South Africa to give its heroine a righteous slap of nobility.
  5. Fan-ready and saga-solid.
  6. You just wish — after two solid but oddly joyless hours — that Legend strained less to hit its marks, and swung a little more.
  7. Jolie Pitt, who also wrote and directed, shows a lot of skin (her own and her cast’s) without ever really getting under it. Misery doesn’t just love good-looking company; it needs an emotional center and a satisfying narrative arc, too.
  8. The shallow frat-on-frat rivalry and the poor-boy-loves-rich-girl subplot don't mean a thing. But the stepping does got that swing.
    • 44 Metascore
    • 67 Critic Score
    While a quick payday might be the case for Berry on Kidnap (she also serves as a producer), the Oscar winner earns her way to the bank in this mildly titillating (albeit unsophisticated) thriller, which bears a striking resemblance to her 2013 flick "The Call."
  9. It's less a tale of religious rebirth than a faith-based Hallmark card.
  10. Here’s what you didn’t expect: That The Brothers Grimsby, an upstairs-downstairs spy comedy, would be Cohen’s best work in a decade.
  11. More naturalistic -- and as a result, more believable.
  12. Genndy Tartakovsky returns as director, and the creator of "Samurai Jack and Dexter’s Laboratory" has somehow managed to kick up the energy even more for the sequel.
  13. The movie's warm advocacy of hospice, with all the dignity such end-of-life care provides, does real, influential good.
  14. In essence, this is an indie Adam Sandler comedy, and when its heroes are psyching themselves up for the big event, it's kind of funny. But the orgy doesn't make you laugh - it makes you cringe.
  15. Belko is an appropriately disreputable, gleefully disturbing movie.
  16. My new theory is that Willis' own aesthetic soul is more old-world than he knows, and that he works best with directors who either are (Luc Besson) or might as well be (M. Night Shyamalan) European.
  17. Second Best might have made a good stage monologue, but as a film it's overstated and barely baked.
  18. A premise masquerading as a movie.
  19. There's not a guy I know who hasn't been looking forward to seeing The Rock pick up the big wooden stick first swung by Joe Don Baker more than 30 years ago.
    • 44 Metascore
    • 50 Critic Score
    When it works, it's the best film of the year. When it doesn't, take cover.
  20. This feature-length dose of boyish sexual fumbling and fantastically dirty British slang is bound to expand an American viewer's vocabulary.
  21. The big underachiever turns out to be DeVito, who is incapable of exhibiting believable warmth and complexity, or, indeed, of playing anyone who is not a cartoon.
  22. Ultimately, however, Kiss is too ridiculous to engage us as a thriller yet too cringingly self-conscious to amuse us as camp.
  23. The only saving grace is Chris Pratt as Vaughn's deadpan best friend.
  24. Faster grafts that genre's style onto a deadbeat script and leaves it to Johnson - as deadly focused as a gunsight - to make it all believable.
  25. Last Action Hero makes such a strenuous show of winking at the audience (and itself) that it seems to be celebrating nothing so much as its own awfulness. In a sense, the movie's incipient commercial failure completes it aesthetically.
  26. Too arty by half.
  27. The film isn't just bad; it's a barely coherent, inert mess -- a heart-tugger for voidoids.

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