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.
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