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. I don’t think Apocalypse Now Redux is superior to the 1979 version. Quite the contrary, it’s draggier and more portentous, more inflated with its own importance.
  2. If your allergy to comedies bred from British style mugging crossed with Disney style prancing has, like mine, flared up in recent years, this hybrid from writer director Joel Hershman (''Hold Me, Thrill Me, Kiss Me'') will make you wheeze.
  3. Are there surprises? A couple of big money ones, notably the ludicrous would-be jaw-dropper of a finale.
  4. The movie is so hilariously sly about something so fetishistically trivial that at times it appears to take in an entire culture through a lens made of cheese.
  5. It's as self consciously arty and fragmented as ''Twin Falls'' was controlled and organically built.
  6. No excuse for the bitterness and crudity in America's Sweethearts -- a noxious combination that erodes the 1930s and '40s screwball-comedy armature on which this mirthless movie is based.
  7. Critics tend to fawn over the Japanese director-star Takeshi Kitano (a.k.a. Beat Takeshi), but am I the only one who finds his films impossible to make heads or tails of?
  8. Mitchell directs and stars in the riotous, loving, and only occasionally pathos-milking film adaptation of his own acclaimed Off Broadway play, with great up-your-ante music and lyrics by Stephen Trask.
  9. A buoyant, funny, and disarmingly humane comedy of beautiful losers in revolt.
  10. Has no pretentions to be anything more than a goose-bumpy fantasy theme-park ride for kids, but it's such a routine ride.
  11. Little more than a rambling chain of combative buddy mishaps, but the interplay between Vaughn and Favreau, who does great double takes of thrusting chin frustration, spins you through the weak patches.
  12. She may be follically blond, but as an actor of distinction who's all of 25, Reese Witherspoon reveals interesting dark roots even as she plays golden girls.
  13. The lightness with which Buñuel was able to insert the little jokes and knife stabs of surrealism he loved so much is, in fact, divine.
  14. With its smooth skinned cast and demonized adults, doesn't feel very authentic.
  15. A sturdily diverting old fashioned heist thriller that looks like a masterpiece of sheer competence next to the slovenly action fantasy F/X grab bags that have been passing for summer entertainment.
  16. May not tell a great story, but it's a great wow.
  17. This is all grimy, guy on guy fun, right down to the fevered, bad English dialogue.
  18. Underneath the ravishing imagery however, hearts are in flux.
  19. Evokes the intimacies of teenage girls with unusual delicacy, and Perabo's performance is a geyser of emotion.
  20. There's a certain breed of annoying indie movie in which a character's shyness is portrayed in a manner so coy that it becomes a reverse form of exhibitionism. Jump Tomorrow is that kind of movie.
  21. The plot and script sag like worn out chew toys just when Cats & Dogs should be in full squeak.
  22. An act of nose-thumbing that never quite figures out how, or even where, to position its thumb.
  23. Cagey, high gloss comedy.
  24. Pandaemonium goes a long way toward capturing the compelling delirium of opium among a crowd of freethinking British iconoclasts.
  25. Amiably silly.
  26. Dunst, in her finest performance yet, has now transcended her fellow teen stars. She is arguably the first actress of her generation poised to take on Gwyneth and Julia.
  27. There aren't many at all like Spielberg and Kubrick, directors willing to lasso dreams (that's Steven) and nightmares (that's Stanley) or die trying. A.I. is a clash of the titans, a jumble, an oedipal drama, a carny act. I want to see it again.
  28. What matters now, what Lumumba conveys, is the urgent chaos of revolution.
  29. What holds the movie together, however, is Gibson's broodingly responsive performance.
    • 49 Metascore
    • 58 Reviewed by
      Ty Burr
    Murphy gives a reined in performance that, every so often, shows a spark of the ''Shrek''ish donkey within.

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