Entertainment Weekly's Scores

For 7,798 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 2.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 13th
Lowest review score: 0 Wide Awake
Score distribution:
7798 movie reviews
  1. Trekkies is hilarious, fascinating, and, at times, almost scary.
  2. 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.
  3. Eastwood is now playing a man whose will is stronger than his body, and it's that tension -- between anger and frailty, steel and decay -- that powers the movie.
  4. Mostly just a bland, sanitized rip-off of the 1938 Errol Flynn version, offering little in terms of new contributions to the tale, and not improving substantially on anything that was already there.
  5. More than just a walking fat joke, Sherman Klump is Eddie Murphy's winking rebuke of his own arrogance.
    • 64 Metascore
    • 50 Critic Score
    This movie's attempt at a scandalous love triangle is so miscalibrated that it's extremely difficult to care about the stakes beyond the official legal proceedings.
  6. Overworked if heartfelt indie.
  7. Ah, monsieur, you can lead a Frenchman to the Big Apple, but you can't make him a New Yorker -- and that's exactly what makes The Professional so fascinating.
  8. Engrossingly intimate documentary.
  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. Naturally, a subject this right-on draws a right-on cast. Kris Kristofferson, Avril Lavigne, and Ethan Hawke pitch in.
  12. Green is officially the world’s best actress in bad movies.
  13. Serial Mom has traces of Waters’ acid wit, but most of the movie is tame and overly conscious of its naughty felicities.
  14. A lackluster affair — smooth and mildly pleasant, with some honest chuckles but without Brooks’ special, prosaic madness.
  15. Naked Gun 33 1/3 has a sluggish, one-gag-at-a- time rhythm, and it aims at too many soft targets. Aside from the Oscar sequence, the movie’s big satirical coup is a send-up of prison-escape pictures (yawn).
  16. Like a naive modernist hymn made by someone who doesn't, deep down, believe in hymns.
  17. And even as the narrative goes through its sometimes sermonizing paces, it’s hard not to be moved by the singular passion of a woman who effectively dismantled her own life not just to salve her conscience, but to save the soul of a nation.
  18. A helluva lot happens in 16 Blocks - an outrageous amount, really, along with a coda that deposits the audience squarely at a movieland finale. Who knew that looking both ways before crossing is where the real action is?
  19. As compelling as it is bizarre.
  20. In the end, One True Thing suggests, families can be healed even in loss. This may not be a true thing, but at least this emotional drama offers up hope, sweet like one of Kate Gulden's tasty cakes.
  21. There are mountain tunes as powerful as moonshine to be enjoyed in Songcatcher -- but there's also a mighty mushy heap of corn pone to be swallowed.
  22. Shows a beguiling aptitude for self-mockery in the pursuit of polemic.
  23. Sensational sex-and-its-consequences melodrama.
  24. If Kids is simultaneously engrossing and detached, observant and just plain showy, that may be because the film is so caught up in trying to be a statement that it never develops its characters beyond their rowdy, bellicose facades.
  25. Monsters is really a road-movie romance that tracks the burgeoning relationship between two strangers as they travel through the "infected" zone.
  26. The natural, pleasurable 1990s hipness [Lohan] brings to her assignment is therefore all the more impressive. Hayley-holics should be grateful to this new girl at camp too.
  27. As the movie goes on, these fleshy little beings turn into…well, people. And that's something to see. But Babies, without falsifying its subject, could have used a more soul-stirring sense of showbiz -- that is, a riper display of infantile special effects.

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