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. What makes all of this ''fun,'' instead of dark or threatening, is that the victim was an idiot who leered at the class teases with horny glee.
    • 56 Metascore
    • 58 Critic Score
    Winter Passing is also being called ''the serious Will Ferrell movie,'' but he's not especially serious in it. Put it this way: His character Corbit is one of those movie types who's into ''kar-a-tay,'' which is a joke that must officially die.
  2. When the florid speeches of volcanic rage and frustration draw to a close - and when Collins and Gooding complete their acting exercises - we still have no clue who these men are and what sent them down their intersecting moral dark alleys.
  3. That everything gets worked out -- friendship affirmed, jokes made about silly magazine articles on reeling in a boy -- is as sure as the soundtrack's inclusion of a Mandy Moore song.
  4. The movie is cross-eyed with fuzzy thinking; it's also an interesting, if wacko, artistic response to world events.
  5. Where Craven and his director, Alexandre Aja, may have miscalculated is in making the genetically damaged demons, with their flesh-potato foreheads and minimal verbal skills, into monster action figures who take vengeance on the world that created them. They're not scary because they're victims themselves.
  6. And as ever, the jokes are a jumble of the gross, the baggy, the raunchy, the mistimed, and - every once in a while - the refreshingly incorrect.
  7. Scottish actor Peter Mullan saves a drama tangled in the seaweed of life lessons from drowning in pathos.
  8. The fact that this formulaically winsome movie, directed by British TV helmer Julian Jarrold, is based on product-line changes at a real Northamptonshire factory does little to freshen its approach.
  9. The sexy, scruffy, neo-Warriors pageantry of ghetto teen hunger would have been a lot more vital if Clark didn't have such a class-war chip on his shoulder.
  10. The surprise, and disappointment, of The Da Vinci Code is how slipshod and hokey the religious detective story now seems.
    • 53 Metascore
    • 58 Critic Score
    The cast, all around, is sterling. There's only one thing they don't need to bring back for the sequels, and that's the movie's appetite for every sports cliché there ever was.
  11. An overdeveloped coming-of-age potboiler.
  12. There's nothing particularly revolutionary about writer-director Robert Edwards' grimly satiric political fable.
  13. Here's one case where it's no praise to say that a movie leaves you with more questions than answers.
    • 42 Metascore
    • 58 Critic Score
    It feels like Barnyard swipes too much of its plot from "The Lion King."
  14. More potent than anything in Snakes on a Plane is the fantasy offscreen: that if enough people talk up their desire to see this film and, at the same time, take an overt delight in what an unabashed piece of junk it is, they will fuse with the hype, with the movie's mystique. They will not just watch Snakes on a Plane; they will own it.
    • 64 Metascore
    • 58 Critic Score
    The way that Aranoa so clearly venerates his lively women feels Almodóvar-esque, but the movie aims most of all to suggest that hookerdom is hell -- and it's neither realistic nor unsentimental enough to pull that off.
  15. A threadbare crazy-quilt of Spanish sex comedies, Queens wants desperately to be "Women on the Verge of a Big Gay Wedding."
  16. An alarming male wallow passing as a fetching date-night dramedy.
  17. Connoisseurs of digital animation, graphic novels, and the history of dystopian art will have plenty to discuss about Christian Volckman's visually striking, technically impressive black-and-white animated feature Renaissance…But no one will be talking about the movie's banal plot, the trite dialogue, or any of the indistinguishable characters who offer a bleak futuristic vision of cinema that's all style, no soul.
  18. The movie represents an earnest effort to compensate for all the love the media has shown to firefighters and other land-based first responders in recent years with little thought to the Coast Guard; the drama also crashes on wave upon wave of clichés.
    • 49 Metascore
    • 58 Critic Score
    The overfamiliar Open Season feels like just another CG 'toon in our 'toon-glutted times.
  19. Shortbus is chipper, it's fresh, it emits a distinct musk of controversy. I'll take the longbus.
  20. Once again, we're treated to loosely aligned scenes of half-formed characters getting a faceful of director Takashi Shimizu's croaking, implacable, and, yes, still scary housewife-geist.
    • 45 Metascore
    • 58 Critic Score
    A delectably bad '80s-style actioner.
  21. Scott Sommer's late-1970s coming-of-age novel, with little of the vivid specificity of "Mean Creek," even though the two share a screenwriter and a producer.
  22. The Peoples Temple congregation was sizably African-American. But when it comes to how those followers turned into a zombie Kool-Aid death cult, Jonestown: The Life and Death of Peoples Temple leaves you with more questions than you went in with.
  23. Here's yet another self-consciously ''Almodóvarian'' confection, studded with small odes to the glory of self-creation.
    • 61 Metascore
    • 58 Critic Score
    Wondrous Oblivion goes awry in its sloppy racial drama, and although the cricket-training montages are good, they're still training montages, and this is just that kind of overfamiliar movie.

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