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. In Secret
    There’s never any doubt that this will end badly for the lovers. But just in case, Jessica Lange as the fire-breathing mother-in-law seals the deal.
  2. Elaine Stritch: Shoot Me
    In Shoot Me, she wears her spiked cynicism like a cutting form of grace, and everyone around her (including audiences) gets healed by it.
  3. Omar
    With the exception of Waleed F. Zuaiter, who does a remarkable good-cop act as an Israeli agent, the cast is composed of first-time actors who bring realism to a tragic story. It manages to punch you in the gut and break your heart at the same time.
  4. About Last Night
    In About Last Night, Hart blows up, to hilariously oversize proportions, the eternal male desire for freedom. He’s raunch on wheels.
  5. Endless Love
    In the hands of director and co-writer Shana Feste (Country Strong), Endless Love has become a solidly engaging neo-'50s romantic melodrama.
  6. RoboCop
    The film has lots of energized mayhem, and Murphy's unraveling of the conspiracy against him isn't dumbed down, yet it's as if the comic-book action poetry of the original has been encased in a suit of generic armor.
  7. Winter's Tale
    It's no coincidence that Winter's Tale is being released on Valentine's Day, when our resistance to schmaltz is at its weakest. But do that special someone in your life a favor and splurge on some flowers and a nice heart-shaped Russell Stover box instead.
  8. Vampire Academy
    If you're not at the bull's-eye center of the target audience, a movie like this one can suck the life out of you.
  9. The LEGO Movie
    It's hard to think of the last time a Pixar film made you go ''Wow!'' That's part of why The LEGO Movie is such outrageous and intoxicating fun.
  10. The Monuments Men
    The Monuments Men sounds like a what's-not-to-like? movie, but it turns out to be a bizarre failure.
  11. That Awkward Moment
    Sit tight through the end credits and you'll be treated to a few off-the-cuff outtakes of the guys doing things much funnier than anything in the film itself.
  12. I, Frankenstein
    To be fair, Eckhart is physically impressive and Bill Nighy and his raised eyebrow do their best in the role of demon leader Naberius. But I, Frankenstein shares something else with it's monster-hero, something much worse than its patchwork nature: The film is distinctly lacking in the soul department.
  13. Labor Day
    With his latest film, the mawkish and melodramatic Labor Day, Reitman has done an unexpected about-face: He's ditched Wilder for Douglas Sirk. And the swap doesn't do him — or his fans — any favors.
  14. Maidentrip
    After 519 days at sea, Dekker finally achieves her goal...and decides to keep sailing, only this time with a hunky boy as her mate. If I were her parents, I wouldn't have signed off on that, either.
  15. Gloria
    Both actors still manage to show something we rarely see on screen: the heartache and happiness that come with love late in life.
  16. Stranger by the Lake
    The movie is voyeuristic, sure, but in a way that evokes Alfred Hitchcock's "Rear Window" more than William Friedkin's "Cruising."
  17. 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.
  18. Jack Ryan: Shadow Recruit
    Branagh did a nice job of directing "Thor," but all he can do here is try to energize the recycled pulp of the script.
  19. The Past
    The Past, is hugely ambitious — it's Farhadi seizing his moment — yet it's also a wrenchingly intimate tale of lives torn asunder by forces within and without them.
  20. Tim's Vermeer
    An exquisitely fun documentary.
  21. Lone Survivor
    Berg has made a powerful film and an important reminder of what really happens when we send men and women off to war. It's just too bad that subtlety isn't a stronger weapon in his arsenal.
  22. Justin Bieber's Believe
    When the movie occasionally does confront its hero’s foibles, its answers are disappointingly pat.
  23. The Secret Life of Walter Mitty
    In the end, Walter Mitty is a film about acting out our dreams. But Stiller never quite shows us the soul of his dreamer.
  24. August: Osage County
    The movie is red meat for anyone who thrives on a certain brand of punchy, in-your-face emotional shock value. Yet the pull of what happens on screen came, for me, with a major qualification: I went with it, but I didn't totally buy it. The film is a contraption that spreads its darkness like whipped butter on a roll.
  25. The Wolf of Wall Street
    The feverishly paced film is hell-bent on making the audience feel like they just snorted a Belushian mountain of blow. You can practically feel your teeth grinding to dust. As with any high, though, it also doesn't know when to stop.
  26. Anchorman 2: The Legend Continues
    It's still plenty hilarious in a reheated sort of way.
  27. Tyler Perry's A Madea Christmas
    Madea is still a witty character, but the gutter wisdom of her tossed-off verbal hand grenades can’t shock us anymore; even the outtakes that play through the closing credits feel like reruns.
  28. Her
    Jonze's satiric, brave-new-world premise is undeniably clever, but it's also a bit icy emotionally.
  29. Saving Mr. Banks
    Saving Mr. Banks is a wholesomely square film about a wholesomely square film. But damned if its sugar doesn't go down like honey.
  30. The Hobbit: The Desolation of Smaug
    Bilbo, as played by Freeman, suggests a sly-dog Dana Carvey without irony, and he is certainly overmatched, but that doesn't mean he's outplayed. Desolation is now his business.
  31. American Hustle
    It's a film of jaw-dropping virtuosity and pleasure, one that leaves you revved, enthralled, tickled, moved, and amazed.
  32. Inside Llewyn Davis
    With Inside Llewyn Davis, they've made a film that is almost spooky in its perversity: a lovingly lived-in, detailed tribute to the folk scene that — hauntingly — has shut their hero out.
  33. Out of the Furnace
    It's Bale, and his almost biblical quest for justice, who burns his way into your soul.
  34. Black Nativity
    While Hudson's and costar Mary J. Blige's soulful, stirring musical numbers are absolute dynamite, the rest of the film's story is larded with enough soap opera twists and heavy-handed schmaltz that you'll feel like you're being bludgeoned with a hymnal.
  35. Oldboy
    In the end, the most impressive performance may be Spike Lee's. He uses skill without gimmickry, flash without fuss, to tap the mesmerizing soul of this pulp.
  36. Mandela: Long Walk to Freedom
    All of the highlights are dutifully hit, as in a made-for-TV movie (albeit a lavish, gorgeously photographed one). Unfortunately, they're hit with a sledgehammer.
  37. Frozen
    Frozen is a squarely enchanting fairy tale that shows you how the definition of what's fresh in animation can shift.
  38. Philomena
    Dench and Coogan's chemistry is undeniably great. In the end, he manages to give her the answers she seeks and she manages to give him a heart.
  39. Delivery Man
    The only saving grace is Chris Pratt as Vaughn's deadpan best friend.
  40. The Hunger Games: Catching Fire
    Catching Fire is smoothly exciting but a bit of a tease.
  41. Nebraska
    Nebraska isn't a perfect movie. It's often hard to tell whether Payne, an Omaha native, is paying heartfelt tribute to his vast stable of Cornhusker characters or slyly mocking them as simpleminded yokels.
  42. The Best Man Holiday
    The Best Man Holiday is an eggnog that's sticky-sweet and heavy at the same time.
  43. The Wind Rises
    As gorgeously animated as any of his previous movies, Wind has Miyazaki trading in his more fantastical impulses for contemplative, old-fashioned drama and period detail.
  44. The Armstrong Lie
    It's a fascinating film that points the finger at a charismatic master of deception — as well as our willingness to buy his deceit.
  45. The Book Thief
    It would make for a pretty ghastly pageant if not for smart, understated turns by Watson and Geoffrey Rush as the charmingly Teutonic couple who rescue both Liesel and a stranded Jew (Ben Schnezter) — not to mention the movie itself — with honorable matter-of-factness.
  46. Thor: The Dark World
    Hiddleston, with pleading eyes and a mad-dog grin, plays Loki as a wounded sociopath who's cackling at the world but seething on the inside. Which makes you realize he's just about the only character in the movie who has an inside.
  47. Ender's Game
    By the time the movie finally manages to get interesting, audiences may be too numb and their retinas too fried to win back.
  48. Free Birds
    In the end, the jokes simply aren’t funny enough to lift these flight-challenged fowl off the ground.
  49. Last Vegas
    After a while, you truly start to see the formula gears churning, but given that, it helps to have an actress like Mary Steenburgen, who at 60 still possesses an amazing glow, as well as a snappier comic timing than ever.
  50. About Time
    Gleeson and McAdams make a touching, lifelike couple, but by the time the movie starts telling us to live each day as if we were going back and doing it all over again, you may feel Curtis has mistaken hokum for wisdom.
  51. Dallas Buyers Club
    It's been 20 years since Tom Hanks put a movie star's face on the AIDS crisis in "Philadelphia." Since then, Hollywood has largely ignored one of the most tragic chapters of the 20th century. Considering that track record, even a movie as imperfect as Dallas Buyers Club is something worth celebrating.
  52. Jackass Presents: Bad Grandpa
    At the end, when the grandson, in drag, enters a little-girl beauty contest, the movie far outdoes the crowning moment of "Little Miss Sunshine." But most of Bad Grandpa lacks that delirious mad kick of surprise.
  53. 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.
  54. Escape Plan
    Schwarzenegger, for one, seems to be having a hoot.
  55. Carrie
    But now we're a lot more accustomed to seeing movie characters mold their destiny through special effects, and since Peirce films the climax in a rather depersonalized, shoot-the-works way, Carrie comes close to seeming like an especially alienated member of the X-Men team. She blows stuff up real good, in a way that would make the devil — or Bruce Willis — proud.
  56. Blue Is the Warmest Color
    Blue's raw portrayal of infatuation and heartbreak is both devastating and sublime. It's unforgettable.
  57. The Fifth Estate
    The Fifth Estate is flawed (it grips the brain but not the heart), yet it feverishly exposes the tenor of whistle-blowing in the brave new world, with the Internet as a billboard for anyone out to spill secrets. Call it the anti-social network.
  58. All Is Lost
    This is Robert Redford doing what too many stars should do and don't: taking a chance. And reinventing his art. It's an extraordinary thing to see.
  59. 12 Years a Slave
    It's Ejiofor's extraordinary performance that holds 12 Years a Slave together.
  60. Machete Kills
    Machete Kills is gruesomely baroque trash staged with a kinetic freedom that is truly eye-popping, so you can forgive its lapses, like how it goes on a little too long. Rodriguez's only real sin as a filmmaker is that he wants to give you way too much of a crazy ultraviolent good time.
  61. Captain Phillips
    A great many filmmakers — too many — use handheld cameras to evoke a sensation of raw, this is really happening immediacy. But director Paul Greengrass is unique. At a glance, his live-wire, ragged-camera method may seem overly familiar, but the way he employs it, that method is as expressive as the style of a superb novelist.
  62. Runner Runner
    Even the best player can only go so far with a bum hand.
  63. A.C.O.D.
    Adam Scott has a controlled, almost overly impeccable charisma. Handsome, with small precise facial features, he has a witty, hiply downcast delivery that, on screen, can make him seem like a unit unto himself.
  64. Gravity
    The miracle of the movie is the way that director Alfonso Cuarón, using special effects and 3-D with a nearly poetic simplicity and command, places the audience right up there in space along with them.
  65. Cloudy with a Chance of Meatballs 2
    Charming enough on its own not to feel like just reheated leftovers.
  66. Baggage Claim
    Paula Patton is such a terrific actress that even in the ultra-tacky romantic comedy Baggage Claim, she gives a luminous, thought-out performance, not just walking through but digging into the role of an eager, nervous doormat with a people-pleasing grin.
  67. Don Jon
    Gordon-Levitt proves a natural filmmaker, nimbly staging Jon's highly amusing Catholic confessions, along with porn montages that mimic the dopamine-charged editing of "Requiem for a Dream." He also gets a terrific performance out of Tony Danza as Jon's hilariously blinkered brute of a dad.
  68. Battle of the Year
    For his part, Lee seems to have pored over every sports underdog movie of the last twenty years, boiled away all the interesting particulars, and kept whatever dross was left.
  69. The Family
    Doesn't just wink at De Niro's history, it leans on it, hard.
  70. Insidious: Chapter 2
    Its lack of both originality and any real memorable moments feels shameless and lazy. Adding insult, the movie ends on a cliffhanger, guaranteeing that Insidious: Chapter 3 will soon be coming to a theater near you.
  71. Thanks for Sharing
    This tone-deaf misfire can't decide whether it wants to be a broad comedy doling out raunchy slapstick laughs or a serious drama about our porn-saturated age of sensory overload.
  72. Enough Said
    It shows us how rare love is — and how we need to grab it and not let it go.
  73. Rush
    Rush hits a few potholes, but in the end it reveals the psyches of two men who only feel alive when they're cheating death.
  74. Prisoners
    The thriller that's exciting, cathartic, and powerfully disturbing. Prisoners is that type of movie. It's rooted in 40 years of Hollywood revenge films, yet it also breaks audacious new ground.
  75. Touchy Feely
    Touchy Feely is minor, but these people are good company.
  76. Adore
    Adore has the distinction of featuring some of the most laughable dialogue in any movie this year.
  77. All the Boys Love Mandy Lane
    Mandy Lane does eventually build to a whiplash twist ending, but it's too little, too late — much like the film itself. Here's a case where the backstory is more interesting than the movie.
  78. Riddick
    At a time when the budgets for sci-fi films are, like the universe itself, expanding at an astronomical rate, Riddick decides to go small.
  79. Getaway
    You will still be astonished by how flat-out awful it is.
  80. Passion
    Passion turns into vintage De Palma — which is to say, the film seems almost engineered to get you giggling at the extravagance of its absurdity. Any enthusiasm in the viewer is bound to be a shadow of the film's passion for itself.
  81. One Direction: This Is Us
    We're treated to what's essentially a slick, airbrushed promo reel of a bunch of genuinely sweet superstars who can't believe their dumb luck. That's charming. But it's also a little boring. What it's most definitely not is a documentary.
    • 40 Metascore
    • 50 Critic Score
    Salinger
    At two hours and nine minutes, Salinger is at least 40 minutes too long, suffering, just like the book, from its creators' obsessive zeal. Only here, you can't page ahead to the next chapter.
  83. Closed Circuit
    It has a chillingly matter-of-fact cynicism that is very au courant.
  84. 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.
  85. Short Term 12
    Brie Larson, as the caring but tormented Grace (who's pregnant and doesn't know if she has the faith to have her baby), and John Gallagher Jr., as her gentle-dweeb fellow worker Mason (who fears his love can't save her), show you what emotionally naked acting is all about.
  86. Drinking Buddies
    The actors all blend terrifically, making this the film equivalent of great hang time.
  87. You're Next
    It's so deliciously twisted, it will make you walk out of the theater feeling like you just endured a grueling, giddy workout.
  88. The World's End
    As in their previous comedies, Pegg and Frost play men who refuse to stop acting like boys. But these pint-swilling Peter Pans also know how to work the heart and the brain for belly laughs.
  89. The Mortal Instruments: City of Bones
    Make no mistake, there will be a sequel. Clary may not wind up having the same pop-culture impact as Bella and Katniss, but like it or not, this won't be the last time you hear from her.
  90. Paranoia
    The only real reason Paranoia is even remotely worth watching is the chance to see Oldman and Ford go head-to-head like two vipers thrown into a potato sack.
  91. Kick-Ass 2
    Moretz, who is 16 now, can't manufacture the same that's-so-wrong jolt she managed the first time around. Back then, it was hilariously taboo to see a little girl spout arias of profanity. Now, she's just another teenager swearing. Like the rest of the film, what was once shocking now just elicits a shrug.
  92. Austenland
    Austenland is kind of a one-joke movie, and the film's rhythm is a bit flaccid, but the joke, at least, has a twinge of wit.
  93. Jobs
    The ironic thrust of the movie is that Jobs' humanity is there in that perfectionistic insanity. He pushes and pushes to make home computers more and more appealing, accessible, and user-friendly, and that's his great gift to the world.
  94. Percy Jackson: Sea of Monsters
    Sarcastic quips and cynical attitudes abound, maybe as a way for the movie's makers to telegraph that they know this is all just so much kid stuff. But if the characters can't muster genuine awe for their adventure, it's a tall order to ask us to do it for them.
  95. Lee Daniels' The Butler
    As Cecil, Whitaker is mesmerizing. The actor seems to shrink into his imposing frame, summoning a performance of quiet, bottled-up force.
  96. Lovelace
    Seyfried works hard for your empathy, with the same naïveté that helped secure Boreman's rep as the ''sexy Raggedy Ann.'' And Sarsgaard is perfect for this role, oozing '70s sleaze in all its mustache-smoothing glory. But even they can't add depth to this sad story.
  97. Planes
    What Planes lacks in novelty, it makes up for with eye-popping aerial sequences and a high-flying comic spirit.
  98. Elysium
    I wish that the film had more of the tasty futuristic detail promised by that dummy parole officer. I also wish that Blomkamp took us deeper into the world of Elysium.
  99. We're the Millers
    While Aniston shows that she's as deft on a stripper pole as she is with her sitcom-honed timing, Sudeikis wields his smart-ass sarcasm like a barbed weapon. And more often than not, it kills.
  100. The Canyons
    Schrader tries to find the human side of it all, and he scores with Lohan, who taps a vulnerability beneath her dissolution to remind you why she's still a movie star.
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