Entertainment Weekly's Scores

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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:
  1. Positive: 4,958 out of 7797
  2. Mixed: 2,079 out of 7797
  3. Negative: 760 out of 7797
7797 movie reviews
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  1. Against the Ropes
    For all I know, Ryan's performance could be a dead-on Kallen impression. But what she appears to be doing is an impression of Johnny Depp doing an impression of Keith Richards doing an impression of Liz Taylor.
  2. Fear and Loathing in Las Vegas
    The movie is a true folly, yet there's no denying that Gilliam has gotten some of the hallucinogenic madness of Thompson's novel on screen.
  3. Something Borrowed
    Soul-sucking romantic comedy.
  4. Tea with Mussolini
    The film values quips and declamations over natural conversation (or an explanation of how such intelligent women could have been so blind to world events).
  5. A Good Woman
    British director Mike Barker and magpie New York screenwriter Howard Himelstein, have taken "Lady Windermere's Fan" - Wilde's first big stage success, written in 1892 - and pulped it senseless in the name of puttin' on the charm.
  6. I Don't Know How She Does It
    The second insurmountable problem is the difference between Parker's performance as a fortysomething banker, wife, and mother musing (in voice-over) at her computer and her previous performance as a single, thirtysomething girl-about-town in "Sex and the City": There is none. I don't know why she does it.
  7. The Man with the Iron Fists
    The movie wants to be deadly cool, but mostly it's just deadly.
  8. Tales from the Crypt: Demon Knight
    To call Demon Knight a popcorn movie is to give it too much credit — I doubt it would raise the pulse of Orville Redenbacher.
  9. Company Man
    If you've always longed to see a Cold War satire done in the hit 'em over the head frantic camp mode of ''Love, American Style,'' then Company Man is the movie for you.
    • 16 Metascore
    • 33 Critic Score
    Half Baked
    Sitting on your couch watching these morons sit on their couch and get wasted is like being the only straight guest at a pot party. Everyone else is laughing, and you're left wondering why.
    • 68 Metascore
    • 33 Critic Score
    Avalon
    The movie is the visual equivalent of a stranger picking out highlights from his family album and providing brief descriptions of them. Everything that happens in Avalon, be it happiness or trauma, is infused with the same tone. The result is test-pattern emotion; everything’s on the same level. There’s no discrimination and, hence, no drama.
    • 38 Metascore
    • 33 Critic Score
    Sister Act 2: Back in the Habit
    To say the script is lame is to be charitable, but Whoopi’s irrepressible charm makes the nunsense watchable. Once again Hollywood doesn’t know when to leave well enough alone: Renting this sequel is like advancing a grade and getting last year’s teacher.
  13. Trance
    I love a good mind-bender, but it's getting more common these days to see thrillers that don't so much bend your mind as chop it, smash it, and place it in the Cuisinart. Trance, the new film directed by Danny Boyle is a high-brainiac art-world thriller that wants to do nothing more (or less) than give your head a majorly pleasurable spin.
    • 15 Metascore
    • 33 Reviewed by
      Ty Burr
    Carpool
    Carpool is affably stupid Saturday-matinee fare -- good for opiating the kids for a few hours -- but let's just say it's no Big Bully.
    • 38 Metascore
    • 33 Critic Score
    BASEketball
    Exhibits none of the infectious offhand tastelessness of their hit show and all of the insistent overkill of a Mel Brooks joke gone horribly wrong.
  16. Encino Man
    Pauly Shore, the reptilian imp from MTV. Reeling off Valley Dude slang in a slurry monotone, as if he could barely be bothered to make his lips form words, he’s a fey sleazebag in hippie duds — a cross between Jim Morrison and Richard Simmons. The most interesting thing about watching Pauly Shore is wondering how long it will be before he has to take a day job.
    • 32 Metascore
    • 33 Critic Score
    It's All About Love
    The experiment didn't work. The English-language production is a jumble of poorly delineated notions about love, celebrity, the look of romantic movies, and the sound of American-style dialogue - and it's been sitting on the shelf for over a year.
  18. Alex & Emma
    It's hard to say what's more excruciating: Alex's novel, which is like ''The Great Gatsby'' rewritten by Lizzie McGuire, or his quarrelsome flirtation with Emma, who has no existence as a character apart from her drive to reshape Alex into a specimen of respectable tamed manhood.
  19. The Babysitters
    The premise is out of '70s porn, and so is the overbroad satire and almost total lack of conviction.
  20. The Pacifier
    A yawn-by-numbers romper-room dud.
    • 34 Metascore
    • 33 Critic Score
    Freejack
    Directed by Geoff Murphy, Freejack is rife with run-of-the-mill action sequences and glaring inconsistencies.
  22. The Smurfs
    The Smurfs may be blue, but their movie is decidedly green, recycling discarded bits from other celluloid Happy Meals like "Alvin and the Chipmunks," "Garfield," and "Hop" into something half animated, half live action, and all careful studio calculation.
  23. Boogeyman
    This is strictly substandard stuff, with imitative creepy noises, vertiginous camera angles, and long pauses.
  24. Cabin Boy
    Few comedies have worked this hard to make everyone on screen look this dumb.
  25. Passion of Mind
    Nobody's got a clue. Enquiring minds don't even want to know.
  26. Moonfall
    Mostly, though, as TV newscasters inform us, civilization has taken a serious nosedive — definitely the case when a well-financed Emmerich disaster flick can't even get its dumb-fun groove on.
  27. Night of the Living Dead
    In the history of bad ideas, George Romero’s decision to produce a color remake of his disturbingly frenzied 1968 zombiefest Night of the Living Dead has to rank right up there with New Coke.
  28. Passengers
    Passengers is not very good. In fact, it’s pretty bad.
  29. The Pyramid
    If you're looking for cheap scares and have 90 minutes to kill, you could do worse than The Pyramid. But not a lot worse.
    • 31 Metascore
    • 33 Critic Score
    Blended
    In Blended, his (Sandler) comic flab has never felt as thick, and this hackneyed "family-friendly" entertainment feels less like a movie than a bad sit-com re-run.
  31. The Merry Gentleman
    This Debbie Downer of a drama is a bitter slog.
  32. Ready to Rumble
    It just makes you want to flip on the tube to see the real (fake) thing.
  33. Addicted to Love
    Commits the cardinal sin of too many modern movies: It never gives the audience a clue why any of these people were ever attracted to one another in the first place. [30 May 1997, p. 54]
    • Entertainment Weekly
  34. Rumor Has It...
    A mess -- all high concept, stranded performances, and no laughs.
    • 44 Metascore
    • 33 Reviewed by
      Ty Burr
    Chasers
    Hopper peppers the cast with his usual assortment of fringe players (Dean Stockwell, Crispin Glover, Seymour Cassell), but his own cameo as a horny salesman is an embarrassment, and the dreadful script mistakes cuss words for wit every step of the way.
  36. Hardware
    Had the killer droid been conceived as a charismatic demon, Hardware might have delivered some B-movie kicks. As it is, there’s nothing particularly scary or awesome about this low-tech walking junk pile. It’s as if someone had remade Alien with the monster played by a rusty erector set.
  37. Virtuosity
    Washington is wasted here. Kelly Lynch is wooden. Crowe has a ball going over the top, but how much taunting and eyeball popping can a performer do?
    • 24 Metascore
    • 33 Critic Score
    London
    At least London nails the inanity of drug-speak - the bathroom chat quickly devolves from God and ''time horizons'' to coprophilia and a truly dumb confessional tirade by Statham - although perhaps this achievement is unintentional.
  39. Nacho Libre
    You can see what the film was going for, but the jokes just sit there; you chuckle a few times, mostly out of lame hope, but you never bust a gut, never really get what you came for.
  40. Pirates of the Caribbean: Dead Man's Chest
    Yes indeed, Pirates 2.0 is a theme ride, if by ride you mean a hellish contraption into which a ticket holder is strapped, overstimulated but unsatisfied, and unable to disengage until the operator releases the restraining harness.
  41. Beverly Hills Ninja
    But when the writers run out of ideas, they simply have Farley walk into a lamppost, or cop from old SNL skits.
  42. Cirque du Freak: The Vampire's Assistant
    Subplots go nowhere, and characters -- many played by well-known actors -- barely get screen time. Willem Dafoe, Salma Hayek, and Jane Krakowski are among those who are there and gone.
  43. Double Jeopardy
    This toothless thriller...feels like a strained reworking of ''The Fugitive.''
  44. The Warrior's Way
    There isn't a shred of subtlety in their clowning - or in any part of the movie, which clumsily shoots for operatic highs and lows. But with so many borrowed bits and pieces, the only feeling it successfully evokes is déjà vu.
  45. Babylon A.D.
    When martial arts star Michelle Yeoh shows up as a pious, butt-kicking nun, you have to wonder if Kassovitz isn't accidentally cribbing from Mel Brooks, too.
  46. The Art of Getting By
    Old Holden would call the whole movie phony, and I agree, if you want to know the truth.
  47. Head Over Heels
    Bland to dismal.
  48. The Very Thought of You
    Features the dullest, least lifelike collection of pals this side of "Eyes Wide Shut."
    • Entertainment Weekly
  49. The Disappearance of Alice Creed
    A brutally monotonous thriller.
  50. Beautiful
    Not one female character escapes mockery or patronizing.
  51. The Counselor
    A jaw-dropping misfire. The dialogue is laughably pretentious, the plotting is virtually nonexistent, and the performances are so broad and cartoony that you keep wondering if it's all some sort of prank.
  52. The Words
    Cooper, who looks appealingly wolfish in his expensively tailored suits, plays the whole thing with a dutiful, earnest expression lacquered on his face, his eyes misting on cue at the exact same moments yours will be rolling into the back of your head.
  53. Transformers: Age Of Extinction
    Ultimately, Age of Extinction is an endless barrage of nonsense and noise.
  54. Trumbo
    How could a movie about a great screenwriter have such a terrible screenplay?
  55. The Beach Bum
    Hard on the heels of January’s god-awful "Serenity," we’re now treated to The Beach Bum — a shambling, self-indulgent inside joke about a perpetually stoned holy fool from the Florida Keys named Moondog. I’ll give you one guess who plays him.
  56. The Transporter
    It's like the worst movie Jean-Claude Van Damme never made.
  57. Silent Hill: Revelation 3D
    Some horror movies want to scare you witless, but Silent Hill: Revelation 3D just wants to beat you senseless.
  58. The Heart Is Deceitful Above All Things
    Asia Argento is not what I would call a good actress, but she's a prime specimen of train-wreck sexuality: a debauched Eurotrash starlet who oozes punk cred more than she does talent. It's not too hard to see why she wanted to write, direct, and star in The Heart Is Deceitful Above All Things.
    • 45 Metascore
    • 33 Critic Score
    Crazy in Alabama
    As campy as a flick by Banderas' evident artistic mentor, Pedro Almódovar.
    • 25 Metascore
    • 33 Critic Score
    American Outlaws
    Bogusly wholesome six-gun dud.
  61. Trouble Every Day
    A demented, orgiastically gory vampire/sex parable.
    • 33 Metascore
    • 33 Reviewed by
      Ty Burr
    Son of the Pink Panther
    Son of the Pink Panther isn’t an unwatchable mess like 1982’s Curse of the Pink Panther; it trots along quickly with series veterans like Herbert Lom adding needed class. But there’s a void at the center of this film about Inspector Clouseau’s long-lost son, and its name is Roberto Benigni. Where Peter Sellers’ Clouseau had a blissfully out-of-it officiousness, the Italian comedian’s sole shtick is to beam idiotically. He’s that ruinous oxymoron: an unsurprising clown.
  63. The King's Man
    But for all its faults, The King's Man is at least hilariously bad in the way that emotionless, made-by-committee blockbusters like Star Wars: The Rise of Skywalker are not.
  64. Life as a House
    No worse than any disease-of-the-week TV movie, and no more moralistic than any Lifetime drama. But it's no better, either, and it ought to be.
  65. 102 Dalmatians
    This sequel adds more insults and injuries that could traumatize little ones. Most frightening of all, the ending leaves the door open for ''103 Dalmatians,'' which would certainly constitute Cruella and unusual punishment.
    • Entertainment Weekly
  66. Back to Black
    There’s no desire to interrogate her artistry or to grant a portrait of what made her tick. In this rendering, Winehouse is made up purely of audacity, vocal theatrics, and addiction-fueled behavior. When it comes to this surface-level exploitation of Amy Winehouse’s life, just say no, no, no.
  67. Someone Like You...
    It was originally called ''Animal Husbandry,'' and while the producers were throwing away that title, they might have done well to chuck the movie along with it.
  68. Lucky You
    Really, all this movie is about is the joy of checks, calls, folds, rivers, and the acquired thrill of knowing what those words mean.
  69. August Rush
    Robin Williams (yes, I'm afraid so) plays a kind of Manhattan-based Fagin with a touch of Midnight Cowboy to his wardrobe. And ants will play havoc in any cynic's pants as this loopy, goopy fairy tale about a kid looking for his parents oozes to its predictable finish.
  70. Ghost Rider: Spirit of Vengeance
    Most of the movie's action-horror set pieces play like lame Gwar music video outtakes, and Cage's signature mix of irony and off-the-rails mugging only works when you can see the actor's face. In Ghost Rider form, his character is just a skeletal automaton with neither a tongue nor a cheek to put it in.
  71. Van Helsing
    Van Helsing, a fusion of eye candy and brain sputter, is a long, kinetic, yet dreary mess.
  72. Blonde
    The main thing the movie misses in portraying Marilyn solely as a tragic sex bomb isn't just the pleasure that Monroe herself brought to millions, but de Armas's inner light too. The spark and vitality so evident in previous projects like Knives Out and No Time to Die has been smothered down to one note: walking wound. What's left is mostly empty iconography and a few indelible images, a bombastic curiosity wrapped in the guise of high art. Some like it cold.
    • 34 Metascore
    • 33 Critic Score
    Cheaper by the Dozen 2
    What you have is less a sequel to a not-so-bad remake than yet another remake, this one of that not-so-great 1988 John Candy comedy "The Great Outdoors."
  74. The Hottie & the Nottie
    The Farrelly brothers could burp out a movie funnier than The Hottie & the Nottie, a farce of corrupt stereotypes that's never more grotesque than when it pretends to be more than skin-deep.
  75. Employee of the Month
    The results in Employee of the Month are toothless.
  76. P.S. I Love You
    FYI, there's zero chemistry between P.S. I Love You's two commodified headliners. P.S.: The plus in the harsh grade goes solely to the divine Lisa Kudrow, delivering desperately needed laughs as the twitchy widow's husband-hunting best friend.
  77. Apollo 18
    Apollo 18 fails to stay with you because, like the cratered satellite on which it's set, it has no atmosphere.
  78. The Last Witch Hunter
    Seemingly every time there was an opportunity to do something fun, The Last Witch Hunter runs in the other direction, creating an unfortunately heavy-handed, humorless, self-serious tone for a story that should be allowed to be a little goofy.
  79. The Avengers
    The Avengers is too enervated to qualify as even a full-scale disaster.
  80. Back to the Future Part III
    Back to the Future Part III has that same sort of studio back-lot clunkiness. Only this time it's the audience that gets conked — by the sheer desperation of the whole enterprise.
  81. Jack and Jill
    In one form or another, you get exactly what you pay for at an Adam Sandler comedy. Otherwise the man wouldn't have earned zillions.
  82. The Man
    Most of The Man is as awful as last year's debacle, "Taxi," yet Levy, stuck in a no-brainer variation on Billy Crystal's predicament in "Analyze This," shows just enough noodgy passive-aggression to suggest what the movie might have been were it not shackled to buddy-action clichés.
  83. Malcolm & Marie
    The whole movie comes across as deeply self-conscious, more concerned with how it sounds than what it's saying, consumed with impressing people rather than expressing something.
  84. Gang Related
    Belushi certainly proves that he can play an uncharismatic lout with conviction, but the talented Shakur is — literally — wasted in his final screen performance.
  85. Don't Tell Mom the Babysitter's Dead
    On Married With Children, the baby-faced Applegate has a slutty spark. Here, the role is too straight, and she’s blah — an apple pie that’s neither sweet nor tart enough.
    • 50 Metascore
    • 33 Reviewed by
      Ty Burr
    Runaway
    Starts with savvy concepts (televised mind control and man’s reliance on robots, respectively) and quickly devolves into sour, overwritten diatribes.
  87. Nightwatch
    Nightwatch is a horror for reasons that have nothing to do with suspenseful moviemaking.
  88. Oscar
    Every chuckle feels engineered. Stallone is reduced to playing straight man to a gaggle of stock Damon Runyon hoods, though Tim Curry, looking like a stuffed cod, brings a prissy, nerdish glee to the role of a madly obsequious linguistics professor.
  89. Greenfingers
    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.
  90. Things to Do in Denver When You're Dead
    Its greatest achievement is that there isn't a single convincing scene in it.
  91. King's Ransom
    Generic hip-hop soundtrack? Check. Aerial stock footage of milieu? Check. Hardy-har homophobia and misogyny? Check. Emasculated sub-Gump white dude played by Jay Mohr? Double check.
  92. The Medallion
    The Medallion makes you long for Tucker -- and for Jackie Chan to fly without digital wings.
  93. I Love You to Death
    I Love You to Death is strenuously unclever.
  94. Chaplin
    A massive Hollywood biopic about a man who never quite seems there.
  95. The Reaping
    No belief on earth can rescue Swank from a film that's a chain of disaster chintz masquerading as a sermon.
  96. Mr. Jealousy
    Have there ever been two less energetic stars than Eric Stoltz and Annabella Sciorra? Casting this diffident duo in an allegedly romantic comedy proves disastrous; they suck the air out of virtually every scene.
  97. What If
    An unctuous rom-com that runs its characters through every plastic cliché of a pre-Oscar McConaughey vehicle, ultimately causing us to root against the vacuous couple and their predetermined happy ending.
  98. Endings, Beginnings
    If ever there was a movie to suffer to, Endings, Beginnings is it.
  99. The Darkest Hour
    You should be rooting for the humans, but you might as well be rooting for the blobs. Most likely, though, you'll just be rooting for the credits.
  100. Dirty Deeds
    Too mild to be dirty, yet too dirty to be charming, and altogether too generic to be much of anything.
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