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. Belushi certainly proves that he can play an uncharismatic lout with conviction, but the talented Shakur is — literally — wasted in his final screen performance.
  2. A threadbare crazy-quilt of Spanish sex comedies, Queens wants desperately to be "Women on the Verge of a Big Gay Wedding."
  3. The sequel, more successfully (if less innocently), injects you into a luminous technological wonderland and asks you to be happy with the ride.
  4. It's a veritable Greek chorus of wry therapeutic chatter, the touchy-feely pensées skittering over the stock dualities of adultery and fidelity, lust and devotion, narcissism and intimacy, blah, blah, blah.
  5. A bit of a clone itself, but it's got a crackerjack helicopter chase, a semblance of a script, and a sotto voce performance by Robert Duvall as a biotech genius who murmurs sweet nothings to his dying cloned wife.
  6. May not tell a great story, but it's a great wow.
  7. The other thing The Thing has got going for it is a welcome hint of dour Scandinavian sensibility sneaked in by director Matthijs van Heijningen Jr. whenever there's a pause in the unexceptional antics of aliens consuming humans.
  8. The Fifth Estate is flawed (it grips the brain but not the heart), yet it feverishly exposes the tenor of whistle-blowing in the brave new world, with the Internet as a billboard for anyone out to spill secrets. Call it the anti-social network.
  9. Horror fans should keep their eyes on the filmmakers — and Essoe, who gives a star-making performance.
  10. Enthusiastic as one might be that Jack Lemmon has found a new lease on movie life with his Grumpy Old Men series, the funny-crankpots genre wears mighty thin on this road trip.
  11. As a big-screen comedy, Coneheads isn’t all that funny either, yet it’s blithe and inventive and surprisingly light on its feet.
  12. American Reunion is about the comedy of middle-class men who can't be satisfied with sex until it looks like porn.
  13. Full credit to director Michael Dougherty (Trick ‘r Treat) because this is great-looking movie, filled with freaky creature designs and a just-right mixture of practical effects and CGI.
    • 49 Metascore
    • 42 Critic Score
    Looking back, 1993 was a golden age for thriller cinema. That was the year Hollywood hatched both "In the Line of Fire" and "The Fugitive," the two obvious and way superior antecedents for the very humdrum B-movie mash-up The Sentinel.
  14. What should be breezy, featherweight fun — Reese! Ashton! A screenplay by the lady who wrote The Devil Wears Prada and 27 Dresses! — instead turns out to be oddly hollow, a meandering and synthetic approximation of classic rom-com canon with too little romance or comedy in its strained, familiar formula.
  15. A maximalist action thriller that is almost comically violent, unfailingly glib, and intermittently very fun.
  16. These tales are as highly designed as fashion layouts. But they're as relaxing to thumb through as those NYT Magazine trend pieces.
  17. People Like Us demonstrates how a drama can be heartfelt and bogus at the same time.
  18. Arnold Schwarzenegger appears as the rare politician who supports reform in this timely exposé of how our democracy has slipped off its tracks.
  19. The mix is Lifetime soap–meets–Woody Allen smart-set comedy, with less humor and a genteel Connecticut setting.
  20. Since the film’s last-minute rewrites, casting switcheroos, and musical chairs behind the camera are irrelevant to the actual quality of the movie, I’ll avoid rehashing them here, save to say that the disarray shows on screen.
  21. Its pulpy violent excess will tip over...into slightly more excessive excess. That's its silly, scuzzball joy.
  22. The truth is that we're way past being outraged by these sorts of Crimes of the One Percent, not because they don't happen, but because the real version is so much more interesting.
  23. Howard luxuriates in writerly misery as Barlow, and the participation of the filmmaker's real-life wife, Debra Winger, as Barlow's ex gives the scenes between the two of them an unfakeable erotic charge.
  24. Little is asked of talking-animal movies, save charm, heart, and at least one scene where said animal wears a lampshade. Good Boy! has all those things, plus a winning story line.
  25. Plays like an unusually ritzy festival circuit audition film, though McQuarrie, it must be said, aces the audition.
  26. A horror film that consists of virtually nothing but don't-go-in-the-attic suspense scenes strung together with a reasonable degree of brooding mood and a minimum of logic.
  27. It's basically a zombie movie with machines instead of the walking dead.
  28. There is much to look at--it's like spending two hours in Michael Jackson's Undead Neverland--but not a lot at stake.
  29. Maybe unavoidably, the movie that’s emerged from all that has the distinct whiff of compromise and art by committee — the opposite, in other words, of nearly everything Queen’s flamboyant, defiant frontman stood for.

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