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. The mix is Lifetime soap–meets–Woody Allen smart-set comedy, with less humor and a genteel Connecticut setting.
  2. There's enough foreboding in America right now to make sitting through a movie such as The Road seem like one more heavy burden that, frankly, no one needs.
  3. What matters is that Tiana triumphs as both a girl and a frog, that dreams are fulfilled, wrongs are righted, love prevails, and music unites not only a princess and a frog but also kids and grown-ups.
  4. Exhausted as the premise already is -- hapless boomer learns that real manhood is a function of committed fatherhood -- Old Dogs nevertheless finds ways to make the lesson even less tolerable.
  5. Let's be honest, killing is this film's business...and business is good.
  6. Has so little fire that Welles himself would have wondered out loud what he was doing stuck in the middle of it.
  7. A feel-good movie that never stops feeling good. The film is based on a true story (it was adapted from a nonfiction best-seller by Michael Lewis), but you never feel that Hancock has honestly captured what's true about it.
  8. Bad Lieutenant doesn't go where you expect, but it has a stubborn, trippy logic.
  9. Many of the characters go by two different names. So best advice for optimum viewing is, see Broken Embraces...twice.
  10. Fan-ready and saga-solid.
  11. Delivers a few pleasant surprises, including a smart story -- a reverse-E.T. riff that plops an American astronaut down in a world of just-like-us-only-green creatures -- and clever characters.
  12. This brave documentary takes on the topic of anti-Semitism in a relentlessly probing and original way.
  13. Overly fussy and self-conscious in its noir details. But in The Missing Person, Buschel makes striking use of the Mike Hammer/Philip Marlowe tradition.
  14. The spectacular battle scenes are the engorged heart of the delirious adventure. But Woo also gets maximum romantic value from Tony Leung as a war hero married to Chiling Lin as the tea-pouring beauty.
  15. With its virtuoso tomfoolery, Fantastic Mr. Fox is like a homegrown Wallace and Gromit caper. To Wes Anderson: More, please!
  16. God forgive me, but I enjoyed the nerve-racking silliness of this newest, loudest exercise in destruction.
  17. There's nothing drab about the tormented place these men take each other to. You'll want to go along.
  18. Pirate Radio is, in the end, about as rock-revolutionary as a tea break. But the choppy production floats on a great soundtrack (the real pirates are the Rolling Stones) and is buoyed by an inviting cast.
  19. Dare, a sweetly sexed-up high school triangle movie, is like a John Hughes comedy trying to pass itself off as ''transgressive.''
  20. His pluck and chutzpah shine through.
  21. The answers he strings together are babble in this superficial vanity documentary. Nice shots of awesome, God-approved scenery, though.
  22. Joseph Gordon-Levitt and Lynn Collins are so interesting that it's easy to put up with the decision-making dithering that goes along with the title.
  23. It's a potent and moving experience, because by the end you feel you've witnessed nothing less than the birth of a soul.
  24. A magical-realist sitcom war farce that ends up being about nothing but its own slovenly smugness.
  25. It's no coincidence that The Box plays like the world's murkiest Twilight Zone episode. It's loosely based on ''Button, Button,'' a short story by Richard Matheson, who wrote some of the series' greatest scripts.
  26. Too often, The Fourth Kind makes the paranormal look disappointingly normal.
  27. A marvelous and touching yuletide toy of a movie.
  28. You may want to dispute Ruppert, but more than that you'll want to hear him, because what he says -- right or wrong, prophecy or paranoia -- takes up residence in your mind.
  29. Splinterheads, which aims to be a quirkier "Adventureland," never rises above mildly amusing.
  30. Holbrook makes Abner a shining-eyed, noble crank.

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