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. Lust, Caution wants us to feel the erotic ping of buttoned-up people ripping open those buttons, but too often it's the film's drama that's under wraps.
  2. Rendition certainly makes the case that torture, whatever name it goes under, is indefensible, yet one can agree with that view entirely and still feel that the movie is just a borderline exploitation of what anyone who reads the papers already knows.
  3. No matter what panache Bier adds, Things We Lost is still a TV-scaled tear-duct drama about a beautiful woman who pushes past sadness in her House & Garden home.
  4. Too bad Kapur's new, glittering sequel also shows up feeling prematurely old, square, and cautious. A production of exquisitely complicated wigs and expensively grand wide shots, it pauses often to admire its own beauty, leery of messing with previous success.
    • 48 Metascore
    • 58 Critic Score
    The problem with Martian Child is that it wants to be a story about outcasts, but Dennis doesn't come off as a cute little rebel.
    • 33 Metascore
    • 58 Critic Score
    Too bad, because until it essentially turns into a medical-thriller version of "Look Who's Talking," the movie hums along comfortably enough as slick B fare.
  5. The brittle, very ''written'' catty quips meant to characterize Washington hypocrisy sound perfunctory; the story of an aging, self-hating homosexual who goes home alone to his lacquered town house feels ancient as well as uncomfortable for the writer-director. (Harrelson seems both game and ill at ease.)
  6. True to his stolid, humanist instincts and characteristically stodgy directorial style, writer-director John Sayles creates a story more educational than engrossing.
  7. 27 Dresses is a movie geared to a pitch of high matrimonial-princess fever.
  8. Less classic Mel Brooks than middling "Best Week Ever."
  9. Neither star is sloppy, but both are loose and mellow -- a couple of pros who know they're the whole show.
  10. Vantage Point starts to slide off the rails when it tracks a tourist (Forest Whitaker) and his trusty camcorder; instead of Zapruder-like intrigue, the episode has him running around like an agent in a rote thriller.
  11. Writer-director Paul Andrew Williams' unnecessarily hectic debut feature won several British film festival awards, no doubt for its bounty of low-budget stylized violence and blood, as well as its thing for prostitutes and runaways.
  12. At its best when it drops any pretense of plot for sheer goof (as when a Japanese sightseer belts ''Sister Christian'' on a karaoke tour bus), and at its worst when Lawrence manages to out-ham even his porky four-legged costar.
  13. Adams, of course, is a peach. Her sparkle requires only minor character adjustment and twinkle recharging from her recent triumph as the old-fashioned modern heroine in "Enchanted."
  14. Every so often, Keanu Reeves' robo-voiced blankness serves him well, but when he has to play a pulpy, tormented demon-saint, scraping up insults and spitting them out like bullets, he's like the host of an infomercial doing an impersonation of a badass.
  15. The team who made "The Hitchhiker's Guide to the Galaxy" display plenty of whirligig energy, if not much control or lightness of touch.
  16. Forget "Monty Python," You Don't Mess With the Zohan is a circus that never really flies.
  17. Hancock can revel in schmuckery, of course, because you and I and cute kids and peaceful oldies worldwide know in advance that there's no way on Hollywood's green earth Will Smith will ever play someone seriously, dangerously unsavory.
  18. The Promotion edges toward some pretty bleak stuff. Then it steps back and laughs, like an office slacker.
  19. One of those feminist cries in the dark in which the heroine, a saintly sufferer, is more admirable than interesting.
  20. It's tempting to say that Mamma Mia! has the worst choreography of any big-screen musical in history, though that would imply that what happens in the film IS choreography.
  21. Older and sadder, Mulder and Scully are no longer sure they've got the energy to even ask if the truth is still out there. And it feels as if Carter is skeptical, too.
  22. W.
    The intrepid one is the outstanding Josh Brolin, who does such a phenomenal job in the title role that he carries every scene he's in to a place of subtlety and integrity far beyond what Stone needs to make his attention-grabbing noise.
  23. The movie could have been a lot scarier.
  24. The movie is merciless sending up "Juno's" self-satisfied hipster gobbledygook, and it's quite funny to see Hannah Montana still promoting her tie-in products as she lies crushed and dying under a meteor.
  25. Even the championship showdown feels polite.
  26. As the school drama teacher who tries to unlock ''the real,'' Patricia Clarkson makes high theatrical solemnity funny.
    • 49 Metascore
    • 58 Critic Score
    All over the place:It's a boardroom/family/couples/road-trip story.
  27. Despite all the macho posturing, the corny story is just as sappy as anything on Lifetime.

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