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. Robert Downey Jr. is an uncomfortable sight as the school's hard-drinking, overstressed principal.
  2. Forget "Monty Python," You Don't Mess With the Zohan is a circus that never really flies.
  3. What makes The Hunting Party an original, gonzo treat is the way that Shepard plants the movie's tone somewhere between hair-trigger investigative danger and the from-the-frying-pan-into-the-fire glee of a Hope/Crosby picture.
  4. Bee Season answers the question no Talmudic student or fan of "Unfaithful" has thought to ask: What would Richard Gere look like as a learned Jewish scholar and teacher?
  5. A movie so stuffed with eccentricity, it rips at least a couple of seams.
  6. If you lower your sights a few pegs and go in looking for a solid, tight B-movie that builds right until the final shot, there’s a lot to like.
  7. One Missed Call is so unoriginal that the movie could almost be a parody of J-horror tropes, yet Miike, for a while at least, stages it with a dread-soaked visual flair that allows you to enjoy being manipulated.
  8. Hiddleston, with pleading eyes and a mad-dog grin, plays Loki as a wounded sociopath who's cackling at the world but seething on the inside. Which makes you realize he's just about the only character in the movie who has an inside.
  9. It's August and we have Idris, Beast seems to say; do you really have anywhere better to be?
  10. Stuart Saves His Family is a hit-or-miss satire in which Stuart, for too many scenes, comes off simply as a goofy neurotic butterball.
  11. Buscemi is stymied here by the inertia of his material.
  12. It's a crackerjack B movie worthy of comparison to such stylishly low-down, smart-meets-dumb, hyper-violent entertainments as the 1997 Kurt Russell thriller "Breakdown," Clint Eastwood's infamous police bloodbath "The Gauntlet," John Carpenter's original "Assault on Precinct 13," and Arnold's own overlooked 1986 outing "Raw Deal."
  13. This tone-deaf misfire can't decide whether it wants to be a broad comedy doling out raunchy slapstick laughs or a serious drama about our porn-saturated age of sensory overload.
  14. Though it also feels like the kind of movie you wish they made more often for all the boys, and girls, still figuring out who they are — especially the ones who don’t tend to see themselves nearly enough on screen: a reflection shinier than real life maybe, but generous and good-hearted to the core.
    • 54 Metascore
    • 42 Critic Score
    Rifkin's descent into madness is Shakespearean in scope, but the rest (except Parker) are precious. Fire? Duraflame. [18Jul1997 Pg.90]
    • Entertainment Weekly
  15. In the scurrilously enjoyable documentary Porn Star: The Legend of Ron Jeremy, we get to know the man whom Al Goldstein dubbed ''the hedgehog of porn."
  16. What's infectious about Groove is the friendly, almost innocent way that its brat pack of digital-age bohemians seek liberation in a world where there is nothing left to rebel against.
  17. Seems populated yet uninhabited; the only real star is the gloom.
  18. A gonzo splatterfest from New Zealand that manages to stay breezy and good-natured even as you're watching heads get snapped off of spurting torsos.
  19. Its title aside, this slow, clunky omnibus film feels more like a TV show than a movie. It’s not very scary, and there isn’t much contrast among the episodes.
  20. Yet even compared to the glacial Marvel-Netflix Dramas, Zack Snyder's Justice League is a chore. At the end of the rainbow, viewers are left with the promise that the actual cool things will happen next time. This cut is no worse than the theatrical edition, but it sure is longer. "So begins the end," Steppenwolf declares. When he says that, there is one hour left.
  21. Here we are again: not entertained, not nearly enough, by an installment of the ''Star Wars'' epic that, for the first time, exhibits symptoms of...nerves. And a chill, conservative grimness of purpose, rather than an excited thrill at the possibilities of cinematic storytelling.
  22. Director Sean Ellis has a lovely eye, but he's set the film in his blind spot. Not only can't he distinguish between art and porn, savoring and wallowing, universal truths and exhausted clichés -- he doesn't even seem interested in these distinctions.
  23. His (Townsend) staging has a tumult, a multi-POV immediacy that brings to mind Paul Greengrass' "Bloody Sunday."
    • 54 Metascore
    • 58 Critic Score
    This is one sexy and satisfyingly twisty dance.
  24. The biggest problem is that the film, written by Marshall Brickman and Rick Elice, never makes a convincing case for why Valli the man or the singer matters beyond the music in the way that "Ray" and "Walk the Line" did for Ray Charles and Johnny Cash.
  25. Not since "Snow Falling on Cedars" have I seen so pedigreed a lit-pic sit there like such an inert teapot, available only to be admired for its mysterious, ineffable Asian teapotness.
  26. Tentle, dreamy animated sci-fi tale.
    • 54 Metascore
    • 58 Critic Score
    Chan hams it up throughout -- to little avail -- but the final brawl should please fans of his balletic action sequences, that is, if they can endure the full hour of silliness before it.
  27. Simplest of its charms is the opportunity to watch Mortensen adapt his charismatic demeanor of wary, taciturn soulfulness from that of a Middle-earth king-in-waiting to one fitting a half-Lakota horseman in 1890.

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