Entertainment Weekly's Scores

For 7,797 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 2.2 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:
7797 movie reviews
  1. Most of this just seems, you know, so three years ago, so "Bourne" again.
  2. Deserves sympathetic attention, if only for the family-values specifics loaded into the story, and the way mildmannered stars Ben Shenkman (Angels in America) and Tom Cavanagh (Ed) embrace their instructional roles.
    • 58 Metascore
    • 67 Critic Score
    The story, which follows two kids who try to save their burg from blackouts, isn't well-executed, losing itself to unclear mythology and sci-fi gibberish.
    • 58 Metascore
    • 67 Critic Score
    Has Dennis Quaid really never played a college football coach before? With his handsome, craggy face and likable intensity, he was born for the job, and he's the main attraction in The Express.
  3. The London universe Leigh creates (employing his trademark improv techniques to unite his ensemble, many of whom make their film debuts) isn't so much a reality as a hope, and an invitation to find joy and grace in everyday moments.
  4. Quarantine director John Erick Dowdle and co-writing brother Drew wisely stick close to the told-from-the-cameraman's point-of-view template of the terrific original, though they add a few fine flourishes.
  5. For the love of all things sensual and mysterious, see this one on a big screen.
  6. Ritchie concocts a crime-jungle demimonde that's organically linked to the real world, and it's a damn fun one to visit.
  7. A triumph -- Demme's finest work since "The Silence of the Lambs," and a movie that tingles with life.
  8. He's a bombs-away provocateur, and in Religulous, Maher's blasphemous detonation of all things holy and scriptural, he doesn't really pretend to play fair. He's like Lenny Bruce with an inquiring mind and a video camera.
  9. While George Lopez, Cheech Marin, and Paul Rodriguez are funny men, it's amazing how boring these Latin-shtick cutups can be when none of them gets a single good line.
  10. As the players enact the fall and rebirth of civilization, Meirelles suggests that even a society gone to hell looks better with a little music-video-like pizzazz.
  11. The individual components of director Marc Abraham's David-and-Goliath drama are roundly unexceptional; the script, soft and teach-y; the performances, earnest.
  12. A loony attack on wacko liberalism and a ding-dong defense of wacko conservatism.
  13. Best in show is the divine Gillian Anderson as a powerful celebrity publicist, editing the image of her clients in much the same way this adaptation tames Young's much pricklier book.
  14. So much goes down on Nick and Norah's one enchanted evening that the best advice is to enjoy the ride -- the actual ride -- around this vibrant new New York.
  15. The final shot, of the three characters now united, may be the quietest affirmation of life I've ever seen in a movie, and one of the truest.
  16. The Lucky Ones isn't dull, and the actors do quite nicely, especially McAdams, who's feisty, gorgeous, and as mercurial as a mood ring.
    • 28 Metascore
    • 50 Critic Score
    The filmmakers hedge their bets by making the young marrieds agnostic at the start of the movie, in order to turn Fireproof into a manual for eternal as well as marital salvation.
  17. Despite all the macho posturing, the corny story is just as sappy as anything on Lifetime.
  18. A brain-squandering thriller.
  19. Miracle isn't powerful, it's muddled and diffuse.
  20. It's an indelibly warped cartoon of lust and despair.
  21. Lane and Gere mime adult courtship with the efficiency of synchronized swimmers. Yet in this ocean of emotion, they look like they're drowning.
  22. If you want to hear juicy inside tales of the scams devised by Lee Atwater, the right-wing visionary of media-age dirty tricks, you'll find loads of them in Boogie Man.
  23. A spare, controlled study in communication gaps and a piercing sketch of suburban American loneliness.
  24. A throwback to the age when Westerns were quaint.
  25. His (Townsend) staging has a tumult, a multi-POV immediacy that brings to mind Paul Greengrass' "Bloody Sunday."
  26. Fiennes speaks with his body what the script cannot formulate about what it's like to be a man apart. The actor creates particulars of time, space, class, and personality with one crook of a finger, one twist of a wrist. I call that nobility of craft; he's the actors' prince.
  27. Fanning is remarkably collected and even dignified. As for the rest of the gang, they ought to be returned to sender.

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