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 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. How to Lose a Guy in 10 Days
    With its ungainly double-deception premise, How to Lose a Guy feels like it was made out of two connect-the-dots drawings laid haphazardly on top of one another.
  2. The Promise
    Even lush set pieces and a raft of prestige players (including Shohreh Aghdashloo, James Cromwell, and Jean Reno) can’t fulfill the movie’s pretty, ultimately empty promise.
  3. Certain Women
    It isn’t until the wonderful Gladstone comes along with her aching tomboy heartache and sad seeking eyes that the film finally burrows below the surface and finally hits a dramatic nerve. Unfortunately, by then, it’s too little too late.
  4. The Island of Dr. Moreau
    He’s become such an obvious parody of himself that Frankenheimer has permitted Kilmer to do a wicked mid-movie impersonation of Brando’s character; it’s funny, but it also gives The Island of Dr. Moreau an extra layer of camp it certainly didn’t need.
  5. Water for Elephants
    Something is wrong under this big tent. Actually made to resemble a good old-fashioned, crowd-pleasing movie, this cinematic Water for Elephants droops and lumbers like Rosie the elephant herself.
    • 43 Metascore
    • 58 Critic Score
    Hot Rod
    Wait until the best parts pop up on YouTube.
    • 54 Metascore
    • 58 Reviewed by
      Ty Burr
    Bride of Re-Animator
    The original Re-Animator was made by an artist working on a wicked, energetic high. Bride of Re-Animator is a smart piece of hack work. In the end, it’s best left standing at the altar.
    • 48 Metascore
    • 58 Critic Score
    The Dark Backward
    Somewhere here, an ironic show-biz parable is trying to take shape. But director Adam Rifkin generally ignores it, preferring to flaunt the chops he has borrowed from David Lynch and John Waters.
  9. Paradise Road
    Beresford, who'd like to teach the world to sing, makes the moment as moving as a Coca-Cola jingle. It's not the real thing, but it's effective.
  10. People I Know
    As it is, the story collapses like a bad tip to Liz Smith. Still, there's something brash, retro, and even stupidly touching about all the chatty mania, and the way Baitz and Pacino get off on paranoia, conspiracy theories, and the lure of 1960s idealism.
  11. By the Sea
    Jolie Pitt, who also wrote and directed, shows a lot of skin (her own and her cast’s) without ever really getting under it. Misery doesn’t just love good-looking company; it needs an emotional center and a satisfying narrative arc, too.
  12. Doubt
    Shanley turns out to have dismayingly few original cinematic notions to back up the basic did-he-or-didn't-he hook in his study of conviction and compassion.
    • 48 Metascore
    • 58 Reviewed by
      Ty Burr
    Kiss Me, Guido
    If writer-director Tony Vitale ladles on the cliches with extra sauce, Guido still has a hey-Ma-I'm-makin'-a-movie enthusiasm that's more infectious than it has a right to be.
  14. The Da Vinci Code
    The surprise, and disappointment, of The Da Vinci Code is how slipshod and hokey the religious detective story now seems.
  15. The 5th Wave
    The frankly preposterous nature of the film’s setup is rendered slightly less so by a couple of second act reveals. But, by then, many viewers will have lost interest in a movie with a very high bodycount but a very small amount of grit, either emotional or literal.
  16. Megan Leavey
    Megan Leavey is one of those strong-arm soaps, and it certainly doesn’t hurt that it has a certain secret weapon in the forced-waterworks department—an adorable bomb-sniffing German shepherd. All together now: Awwwwww.
  17. Breakin' All the Rules
    The rules of good screenwriting are mostly broken, though Jamie Foxx's smash-and-grab charisma remains intact.
  18. Rio 2
    There are fun moments, especially with Kristin Chenoweth’s vampy poison dart frog. But with more evolved films like "The LEGO Movie" and "Frozen" in the animated ecosphere, overstuffed and gag-reliant time-passers like the Rio movies feel like a dying breed.
  19. Scarlet Diva
    Has a voyeuristic tug, but all in all it's a lot less sensational than it wants to be.
  20. Jack Reacher
    That Cruise fails to make a case for Reacher's allure, though, has less to do with physical dissonance than it does with the film's inability - stupefying inability, really - to otherwise make a case for the character's originality in a movie so choked with visual clichés and dreadfully moldy dialogue.
  21. The Suicide Squad
    The script, accordingly, herks and jerks along with a sort of forced-festive glee, its mounting body count buffeted by goofball banter and pounding soundtrack cues. A good half of the jokes don't land, but unlike his predecessor's joyless slog, Gunn's version at least celebrates the nonsense.
  22. Shark Tale
    The noisiest laughs in this watery animated comedy are reserved for those who value self-referential winks above all else.
  23. There Be Dragons
    Florid, convoluted historical drama.
  24. Hot Summer Nights
    Bynum shoots it all in high pop-pastiche style, with a near-constant barrage of neon freeze frames, slow-pan party shots, and romantic montages set to an eclectic, decade-spanning soundtrack (Tarzan Boy, David Bowie, Roxette, Suicide).
  25. Z for Zachariah
    The lack of drama and heat keeps Z for Zachariah joyless without much despair. It’s the end of the world as we know it, and you’ll feel bored.
  26. The Flash
    Rather than the beginning of a cool, new idea, The Flash now feels like it should be the last word on movie multiverses.
  27. In Time
    The movie, I'm sad to report, has a majorly disappointing follow-through. It turns into a noisy, squalling chase movie.
  28. Spenser Confidential
    Fists will smash; pecs will flex; hard consonants, like dirty cops, don't stand a chance. It's the only sure thing in this crazy world, kids — except maybe a sequel.
  29. Voyage of Time: The IMAX Experience
    Voyage of Time is a beautiful diversion, but almost entirely empty, even in its inquisitive big swings for profundity.
  30. Venom
    Venom isn’t quite bad, but it’s not exactly good either. It’s noncommittally mediocre and, as a result, forgettable. It just sort of sits there, beating you numb, unsure of whether it wants to be a comic-book movie or put the whole idea of comic-book movies in its crosshairs.
    • 49 Metascore
    • 58 Critic Score
    Magic
    From the start, Hopkins forgoes the subtle route and heads straight over the top, squeezing what fun there is out of William Goldman’s humorless script.
    • tbd Metascore
    • 58 Critic Score
    Ratter
    Ratter definitely delivers an effective paranoia creep-factor towards the end, but first, the audience has to get through about 45 minutes of just watching Ashley Benson cook eggs, shave her legs, and dance in her living room.
  33. Oz the Great and Powerful
    The film is stuffed with three endings too many. You can't blame Raimi for wanting to give us our money's worth. But after a while, you just want him to get to the Happily Ever After already.
    • 46 Metascore
    • 58 Critic Score
    Flavors
    Earnest and intermittently diverting, this cheerful little movie isn't the sort of thing you see every day.
  35. Emelie
    Those scenes do allow star Sarah Bolger to showcase her range as a babysitter gradually transforming from sweet to sinister.
  36. Renaissance
    Connoisseurs of digital animation, graphic novels, and the history of dystopian art will have plenty to discuss about Christian Volckman's visually striking, technically impressive black-and-white animated feature Renaissance…But no one will be talking about the movie's banal plot, the trite dialogue, or any of the indistinguishable characters who offer a bleak futuristic vision of cinema that's all style, no soul.
  37. The Anniversary Party
    As a work of art, the movie, shot quickly on digital video, is genial enough if unrefined.
  38. The Company You Keep
    Shia LaBeouf, who appears to be on hand to prove that a movie with a crusading newspaper reporter can still exist, perks up his scenes, and Redford acts with his usual hyperalert, placid control.
    • 54 Metascore
    • 58 Critic Score
    Entrapment
    This is one sexy and satisfyingly twisty dance.
  40. The Grandmaster
    Tony Leung plays Ip Man with his old-movie charisma and reserve, but the film, despite a few splendid fights, is a biohistorical muddle that never finds its center. Maybe that's because — big mistake! — it never gets to Bruce Lee.
  41. The X Files: I Want to Believe
    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.
  42. Multiplicity
    Ramis’ talented, underused SCTV colleague Eugene Levy makes a brief, welcome appearance as a nuttily dim cement contractor, but he’s a zany interlude in an otherwise muted, unzany tale.
  43. Wilson
    Wilson has some deliciously awkward laughs thanks to Harrelson’s curmudgeonly, childlike performance, but it zips right along without ever landing any emotionally resonant blows.
  44. Shooting Fish
    Wafer-thin, content-light, structure-wobbly, and whimsy-heavy.
    • 64 Metascore
    • 58 Critic Score
    Princesas
    The way that Aranoa so clearly venerates his lively women feels Almodóvar-esque, but the movie aims most of all to suggest that hookerdom is hell -- and it's neither realistic nor unsentimental enough to pull that off.
    • 18 Metascore
    • 58 Critic Score
    Movie 43
    At its best, Movie 43 resembles a risqué episode of Saturday Night Live - a comparison reinforced by the presence of both parody ads and Jason Sudeikis. At its worst? Let's just say that Hugh Jackman fans who want to remember the actor as Jean Valjean and not as a guy with a scrotum sprouting from his neck should make alternate plans this weekend.
  47. He's Just Not That Into You
    He's Just Not That Into You turns romantic sanity into something so sanitized that it starts to make delusion look good.
  48. Romy and Michele's High School Reunion
    This sloppy, pleasant comedy by playwright and TV producer Robin Schiff (Almost Perfect) is an amiable mess, a padded-out expansion of a play called "Ladies' Room."
  49. Eros
    For the invited filmmaker, the opportunity to make a statement is surely a thrill, but for the viewer - who can't pause indefinitely, as with a book, between stories - the focus-shifting is a demand.
  50. R.I.P.D.
    While he's (Bridges) having more fun than anyone in the audience is likely to be having, it's such a rip-snorting go-for-broke performance that it almost makes R.I.P.D. worth the price of admission. Almost.
  51. On a Clear Day
    Scottish actor Peter Mullan saves a drama tangled in the seaweed of life lessons from drowning in pathos.
  52. My Cousin Vinny
    My Cousin Vinny is the definition of obvious, and it’s way too long (do films like this really need an hour’s worth of setup?). But Pesci and Tomei make a first-rate team — they’re Punch and Judy gone Brooklyn.
  53. The Signal
    Mostly comes down to rage fiends going at one another with baseball bats, knives, pesticide tanks, and power drills.
  54. Love
    The big draw should be 3-D, which enhances the visual intimacy, though only in shooting a male orgasm does Noé go gonzo with the format.
  55. The Gunman
    Sean Penn doesn’t make movies very often these days. So when he does, you go in with certain expectations. Sadly, it’s best to leave them at the concession stand if you’re planning on enjoying The Gunman.
  56. La mission
    The warmth comes through, even if the storytelling is simplistic and clichéd.
  57. Big Momma's House 2
    House 2 may never elicit more than mild chuckles, but when Momma teaches the Fullers a few lessons about family, it's heartfelt without being syrupy.
  58. Sleeping with the Enemy
    As an actress, Roberts has more than a great smile. She’s alive on screen — you can practically feel her pulse. But someone should have realized that audiences would be on her side even if every single moment of a movie weren’t calculated to put them there.
  59. Runaway Bride
    The difference between "Pretty Woman" and Runaway Bride is that we can no longer buy Roberts in her tearful romantic-melancholy mode. It seems vaguely patronizing now.
  60. Freakonomics
    As a movie, Freakonomics is like Jujubes for the brain - it starts to get cloying halfway through the box.
  61. The Huntsman: Winter's War
    It’s the movie equivalent of a cake that’s all frosting.
  62. Monte Carlo
    Undoubtedly a trifle, but it's still kind of nice for a summer movie to try charming us instead of just bludgeoning us into submission.
  63. Street Kings
    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.
  64. Romeo Is Bleeding
    Romeo Is Bleeding just ends up flaunting its Grand Guignol outrageousness, rubbing our noses in its desire to be a gaudy hipster freak show. By the end, the film has become so mired in pointless sensation that it ceases to be any fun at all.
  65. Swiss Army Man
    A hot, strange mess that never quite comes together the way it should.
  66. Prefontaine
    But in this standard athlete-dies-young presentation, we never do catch the magic that made Steve Prefontaine a towering figure. Instead, this Pre is a shaggy-haired, sentimental favorite -- a teen angel rather than an Olympian.
  67. Lymelife
    Overworked if heartfelt indie.
  68. Teenage Mutant Ninja Turtles: Out of the Shadows
    So while Out of the Shadows may not be any smarter than the first installment (or really all that smart at all), it’s certainly a lot more fun.
  69. Men in Black II
    Some motion pictures portray ultimate passion; others create ultimate thrills. Men in Black II achieves ultimate insignificance -- it's the sci-fi comedy spectacle as Whiffle-Ball epic.
  70. Under the Cherry Moon
    It’s really Prince who’s the ingenue here. He engages in much mock-effeminate vamping, scampers around the French Riviera in outfits that would have humbled Liberace, and grants himself the most melodramatic death scene since Camille.
  71. American Sniper
    Clint Eastwood's American Sniper is a film that evokes complicated emotions. A month after seeing it, you might still be wrestling with whether it's powerful, profound, or propaganda.
  72. Bernie
    All those twangy, homespun observations interrupt and annotate the narrative until Black and MacLaine's scenes start to feel as trivial as reenactments on a true-crime TV show.
  73. Mother and Child
    The hothouse drama Mother and Child is organized like a femme-friendly spa that specializes in treatments for the psyche rather than the skin. Soft New Agey music tinkles intrusively. Sore spots are prodded and massaged. Clients pass one another in the changing room. The ritual is exquisite to some, and excruciating to others.
  74. Ride Along
    Hart's exasperated dervish shtick has moments of real live-wire anarchy, including one priceless gag at a firing range. Will it be enough to make Hart a household name? Maybe. But both he and his fans deserve better.
  75. Deep Water
    Deep Water isn't really thrilling or erotic, but it accomplishes a kind of diagonal camp sincerity, plummeting its glamorous characters into ever-tawdrier situations. I wouldn't marry it, but I wouldn't kill it. Remind me, what's the third option?
  76. The Great Wall
    The Great Wall looks like it could be a really amazing video game. Alas, it’s a movie, and kind of a brick.
  77. Blood and Chocolate
    Werewolves are tame with overuse, and movies like Blood and Chocolate -- where moments of inspiration vie in vain with Goth cliché -- play like underlit "Charmed" reruns.
  78. Honeydripper
    True to his stolid, humanist instincts and characteristically stodgy directorial style, writer-director John Sayles creates a story more educational than engrossing.
  79. Men in Black
    The aliens aren't particularly scary or funny, and so the joke of watching Smith and Jones crack wise in their faces wears thin.
  80. Goosebumps 2: Haunted Halloween
    The real magic of the movie comes in its echoes of the first — namely, Black’s performance as the Goosebumps mastermind.
  81. Brick Lane
    One of those feminist cries in the dark in which the heroine, a saintly sufferer, is more admirable than interesting.
  82. Beast
    It's August and we have Idris, Beast seems to say; do you really have anywhere better to be?
  83. Black Adam
    Black Adam is what happens when artists say they want to go dark but don't really have the stomach for it. Cue scenes of humorless mid-air wrestling, shake vigorously, wait for the sequel.
  84. Safe
    Safe has more action than intrigue (or logic), and it's boilerplate vicious. It may satisfy Statham's fans, but they - like he - would do well to enlarge their expectations.
  85. Little Buddha
    You hardly need to be devoted to the ways of Buddhism to see when a gifted filmmaker, for the sake of multicultural niceness, has enthusiastically abandoned his mind.
  86. To the Arctic
    Filmmaker Greg MacGillivray, a specialist in gigantic-screen nature movies including "The Living Sea," is up to date in his use of 70mm IMAX film, but he's stuck in the past about how to tell a story.
  87. Piglet's Big Movie
    A collection of shorts, here presented as flashbacks. All three derive from A.A. Milne's original tales, but retain only a smidgen of his droll, easy-chair wit.
  88. My Sister's Keeper
    Their message (Cassavetes and screenwriter Jeremy Leven) in My Sister's Keeper? Cancer sucks, but there's always the balm of beach scenes and an emo soundtrack.
  89. Stage Beauty
    A celebration of the theater that tends to drag the moment it's out of drag.
  90. How High
    Enough cheery mockery to amuse even non-tokers.
  91. What Dreams May Come
    So diaphanous it practically dissolves as you watch it.
  92. Letters to God
    A bland, pious yet touching faith-based tearjerker.
  93. Oblivion
    Oblivion has enough special-effects artistry to keep you distracted for a while. But all the eye candy in the world can’t mask the sensation that you’ve seen this all before…and done better.
  94. The First Grader
    Plays more like a teaching tool than a dynamic drama.
  95. Cowboys & Aliens
    Cowboys & Aliens has fun moments, but it's a plodding entertainment because it mostly tastes like leftovers.
  96. Peaceful Warrior
    In the ranks of improbable gymnastics coaches, Nick Nolte falls just below the cartoon version of Mr. T.
  97. Jingle All the Way
    For all its garishness, though, the film is punchy and fast, and it has an engagingly preposterous cheeseball climax, with Schwarzenegger, in full Turbo Man regalia, zooming through the skies like a consumer-king Rocketeer.
  98. The Tuxedo
    Chan needs a foil, and Hewitt, while perky, doesn't project nearly enough comedy weight; she's too slight and tailored for his style.
  99. Manic
    There's something already exhausted, however, in the intrusively gauzy, wobbly, blurry, zoomy digital-video look of the piece.
  100. Point Break
    Director Kathryn Bigelow is one of the new-style action wizards who’ve never quite mastered the nuts and bolts of telling a story.
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