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. Teen Titans Go! To the Movies
    The meta jokes flow like Mountain Dew — this is a rollicking, goofy superhero send-up that never overstays its welcome.
    • 69 Metascore
    • 75 Critic Score
    The Drop
    While Gandolfini fills in the gaps and silences, Rapace never colors in her underwritten character, making her a glorified MacGuffin who hangs around far too long.
  3. The Company Men
    Kevin Costner, as Bobby's carpenter brother-in-law, does the finest character acting of his career.
  4. Chicago 10
    Chicago 10 is well worth seeing, if only because a good half of the film is devoted to extraordinary footage of the four days of rage that spawned the trial.
  5. The Wild Thornberrys Movie
    An average kid-empowerment fantasy with slightly above-average brains.
  6. Divided We Fall
    The tonal elegance of this black comedy set in a dark time -- is boldly dependent on performances that tug at taut lines of moral complexity.
  7. Kill Bill: Vol. 1
    The film may be bloody, but it's also bloody gorgeous: a grandly fetishized epic of cinematic aggression. It's a tale of vengeance that hinges on Tarantino's love of ferocity as spectacle -- his immersion in action and exploitation, his addiction to the jazzy catharsis of junk-film kicks.
  8. Wilbur Wants to Kill Himself
    Too chicly depressive -- and, for the most part, too dull -- to bear.
    • 69 Metascore
    • 83 Reviewed by
      Ty Burr
    Salvador
    It serves as testimony to the ghosts that continue to haunt such men as ex-senator Bob Kerrey.
  10. The Monster
    Like "The Strangers," the result is a simple but skillfully told shocker.
  11. Scott Pilgrim vs. the World
    The first rock & roll kung fu videogame youth love story.
  12. The Go-Getter
    The Go-Getter travels, but it doesn't go anywhere.
    • 69 Metascore
    • 50 Critic Score
    Fear(s) of the Dark
    Feels like a nonstarter.
  14. A League of Their Own
    From its jokey, one-note characters to its endless baseball montages, A League of Their Own is all flash, all surface.
    • 69 Metascore
    • 67 Critic Score
    East of Shanghai
    The director's handle on visual storytelling remains strong, but at this point, he hasn't quite figured out how to direct dialogue, which is a massive problem for a movie with so much talking.
  16. Cha Cha Real Smooth
    Cha Cha feels like both a fitting showcase for a young auteur like Raiff and a larger marker of how much movie masculinity has evolved: a real-smooth manifesto for the anti-toxic man.
  17. Crazy Love
    The tale itself is so spectacularly perverse, and the film stays so authentically close to the personalities involved, that you don't feel dirty -- you feel cleansed.
  18. Our Souls at Night
    The real draw is seeing these two legends together again.
  19. The Exploding Girl
    Gray has an artful, understated way of conveying what's going ?on inside, often simply by focusing his camera on Kazan.
  20. Starter for 10
    There's a tidiness and affection to this British homage to John Hughes movies.
  21. 22 July
    Taken together, the film is kaleidoscopic, sober, and also a bit glib. 22 July is exceptionally choreographed and tough to sit through, but it also leaves an uneasy, bitter aftertaste knowing that the movie is probably exactly the kind of continued attention a deranged narcissist like Breivik would have wanted.
  22. The Bridges of Madison County
    To say that Eastwood, who directed, has done a first-rate job of adaptation fails to do him justice. What he's brought off is closer to alchemy.
  23. Stoked: The Rise and Fall of Gator
    Had ''Boogie Nights'' been the tale of a California dreamer with a really long skateboard, the movie's delirious first half would have been ''Dogtown and Z-Boys,'' and its downbeat conclusion would be Stoked.
  24. The Cuckoo
    A stirring action movie -- in the international manner of ''The Fast Runner'' or ''No Man's Land."
  25. Adorenarin doraibu
    Clever, laid-back.
  26. Monsieur Ibrahim
    The movie is sometimes profound in its simple, optimistic message of friendship -- and sometimes it's plain simple.
  27. Changing Lanes
    Teasing drama whose relentless good-deed/bad-deed reversals are just interesting enough to make a sinner like me pray for an even more interesting, less symmetrical, less obviously cross-shaped creation.
  28. Ong Bak
    Ong-Bak (taken from the name of the sacred statue) is delivered raw, with an on-the-fly compositional approach from director Prachya Pinkaew that includes dim lighting and jumbled editing.
  29. Compliance
    With a slow, relentless buildup focused on sexual humiliation, Compliance intensifies the "requests" put on Sandra, and eventually other employees, to behave immorally in the name of cooperation.
    • 68 Metascore
    • 91 Critic Score
    A Boy and His Dog
    Jones directed and scripted this mordant sci-fi comedy from a novella by Harlan Ellison; the satire gets a trifle woozy in the picture’s last third, but the film is redeemed by one of the great bad-taste endings of recent cinema.
  31. Infamous
    The added value that writer-director Douglas McGrath has in mind is gossip -- and a goggly interest in gossip becomes the glittering gimmick of Infamous.
  32. Star Trek Beyond
    Beyond is more fun than deep. It’s lightweight, zero-gravity Trek that is, for the most part, devoid of the sort of Big Ideas and knotty existential questions that creator Gene Roddenberry specialized in.
  33. North Country
    Might have been richer, tougher, more honestly liberal if it had revealed a few more shades of gray among the men.
  34. Bullhead
    Overheated yet bizarrely opaque criminal character study from Belgium.
  35. Like Crazy
    Like Crazy tells the truth, simply: Love is thrilling. And - just because of the way life happens - sometimes love hurts.
    • 68 Metascore
    • 67 Critic Score
    Equity
    Unfortunately, Equity sometimes buckles under the weight of its self-imposed, gendered duty. In attempting to say so much about women vs. women in a cutthroat industry, it paints itself almost too seriously.
  37. The Hunger Games
    A muscular, honorable, unflinching translation of Collins' vision. It's brutal where it needs to be, particularly when children fight and bleed.
  38. A Housekeeper
    By the end, you may marvel at the film's worldly-wise wink of maturity. You may also think, Is that all?
  39. The War Zone
    Roth, there's no denying, creates considerable suspense out of our desire to confront the forbidden.
  40. In My Skin
    An experience you won't easily shake.
  41. The Yes Men
    When they're good, the Yes Men are astonishing, anarchic sights to behold.
  42. Jump Tomorrow
    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.
  43. The American President
    In the end, the movie says that the President's private life matters, all right -- that Shepherd should get the girl and reestablish his leadership by giving in to the noble liberal he always was inside. Even for a modern Capra fable, that's a bit much to swallow.
  44. Valentino: The Last Emperor
    Film music by Nino Rota provides a Fellini overlay.
  45. A Somewhat Gentle Man
    Skarsgard's utter finesse in the role provides a satisfying warmth.
  46. Casino Jack and the United States of Money
    Casino Jack is really a look at how the culture of Washington was rebuilt to sell itself to the highest bidder.
  47. Afterglow
    Romantic comedies usually strike one or two moods, but in Afterglow, the writer-director Alan Rudolph runs through rainbows of feeling in a single scene.
  48. Class Action Park
    The movie's just pure fun; a cock-eyed Valentine to a place so outrageous that death or dismemberment was an actual acceptable risk — but so was the chance to live, as one former security guard fondly recalls, in “an ‘80s movie that was real life. And it will never happen again.”
  49. Applause
    In his debut feature, the director is wise enough to move his hand-held camera wherever Steen wants to go.
  50. August Evening
    The filmmaker of August Evening creates a succession of quiet, elliptical scenes that accrue into an affecting big picture of family ties and immigrant experience.
  51. Babe: Pig in the City
    Don’t miss this astonishingly bleak, inventive, funny, sumptuously designed film.
  52. Braveheart
    Braveheart features some of the most enthralling combat sequences in years, and the excessive ferocity of the violence is part of the thrill.
  53. Pierrepoint
    This measured bio-production might be viewed as a lesser companion piece to "Vera Drake" -- although in the case of Pierrepoint: The Last Hangman, all the period-piece tastefulness makes for a story more instructive than emotionally tangible.
  54. Crazy, Stupid, Love
    Nothing more (or less) than an enchanting light comedy of romantic confusion... It's a movie that understands love because it understands pain.
  55. Deepwater Horizon
    What works almost disturbingly well is the way Berg calibrates his delivery of the disaster while still holding on to the human scale of it.
  56. Lamb
    The movie's stark Nordic mood and obscure mystery are as coolly immersive as nearly anything on screen this year — and in the hammy world of supernatural horror, that ambiguity alone feels like a small, spooky gift.
  57. Fighting with My Family
    Most of Fighting’s narrative moves are as choreographed as any undercard match — and the outcome as clearly forecast — but the tears brought on by the movie’s last ten minutes of rhinestoned Rocky triumph taste salty, and real.
  58. End of Watch
    Nerve-rattling in the best way, the sharp, visceral urban police procedural End of Watch is one of the best American cop movies I've seen in a long time.
  59. Manhunt
    Still, there are enough glimpses of the old master peeking through that it’s hard not to have a bit of a good time. It turns out that even second-rate (okay, third-rate) Woo has its moments.
  60. Apocalypto
    There's so much dark material jammed into this complicated, conflicted, challenging, and charismatic man's (Gibson) own noggin that sometimes he knows not, I think, what he's done. Here, behold, Mel Gibson has made the weirdest, most violent movie of the year.
  61. Potiche
    An Orson Welles-size Gérard Depardieu does gallant work as the town's leftist mayor.
  62. Alice et Martin
    It's as if, in exploring the scars that shape these personalities, Téchiné has forgotten to color in the flesh.
  63. Smile
    Bacon is great fun as a girl on the verge of a nervous breakdown, chirping with increasing desperation that she's fine, and Finn is a pleasingly nervy stylist, letting the camera tilt and flip at seasick angles and ratcheting the tension as he goes. Smile is a pretty silly movie by any metric; still, it has teeth.
  64. Borat Subsequent Moviefilm
    If the movie's entire axis spins on the kind of extreme discomfort comedy you almost need a pillow to chew on and a pile of Xanax to get through, that's also the particular genius of Baron Cohen, an artist who instinctively knows how to hold up a mirror — and that a cracked one can show us, maybe better than anything, exactly what we need to see.
  65. Chopper
    A movie overtly designed to win attention (and not to do much else).
  66. The Adventures of Tintin
    Even a filmmaker as dazzling as Steven Spielberg has to create characters who lure us into their point of view, and the trouble with Tintin is that we're always on the outside, looking in. What all that motion can't capture is our hearts.
  67. The Conjuring
    Wan masterfully tightens the vise on the audience's nerves, using mood and sound effects for shocks that never feel cheap (the harmless kids' game of hide-and-clap has never been so bloodcurdling).
    • 68 Metascore
    • 67 Reviewed by
      Ty Burr
    Bopha!
    There’s sorrow here to fill a thousand Hollywood movies—and in the end, it swamps the boundaries of movie convention.
  69. The Meddler
    Her character, reportedly based on writer-director Lorene Scafaria’s own mother, isn’t drawn with any particular depth or nuance (and the broad New Yawk accent Sarandon tries on is about as authentically Brooklyn as a Sara Lee bagel).
  70. The World's Fastest Indian
    The cockeyed devotion with which writer-director Roger Donaldson dramatizes the story of New Zealand motorcycle legend Burt Munro and his classic 1920 bike in The World's Fastest Indian is in direct proportion to the cockeyed devotion with which Munro himself pursued his lifetime goal of setting a land-speed record at Bonneville Flats, Utah.
  71. Ask Dr. Ruth
    The new documentary Ask Dr. Ruth... seeks to give audiences an understanding of the extraordinary life that shaped this one-of-a-kind woman but falls short when it comes to digging beyond mere biography.
  72. Ghost in the Shell 2: Innocence
    The title Ghost in the Shell 2: Innocence is a brain banger. But as sci-fi nomenclature goes, it's easy to read--no twistier, certainly, than "Sky Captain and the World of Tomorrow."
  73. $9.99
    Using the droll, wise stories of Etgar Keret as her guide, Israeli filmmaker Tatia Rosenthal concocts an artful film that expresses deep thoughts, lightly.
  74. The Homesman
    With her sad, haunted eyes and ''plain as a tin pail'' looks, Swank is by far the best thing in the movie. More than most actresses, she seems unburdened by vanity.
  75. Henry Fool
    Resonant examination of friendship, fame, cultural trends, and the creative process.
  76. We Need to Talk About Kevin
    The movie is creepy, but it has no texture or depth. It's like "The Omen" directed by Miranda July.
  77. Thunderbolts*
    A lot of what works in the movie does so due to the talent of the performers. There aren't a lot of jokes or killer lines in this, but little bits of business that Pugh and Russell, in particular, make work. Harbour's loud, boorish Russian bear is funny at first, but alas, gets tiresome in a short amount of time.
  78. Leonard Cohen: I'm Your Man
    I'm not generally a big fan of tribute concerts, but this is a glorious exception.
  79. Early Man
    What comedy there is comes from Tom Hiddleston’s Lord Nooth — a miser with a head like a soft-boiled egg. But the laughs are mild at best. At least there’s director Nick Park’s playful Silly Putty visual imagination to take your mind off just how thin the story is.
  80. The East
    The East is still a compelling portrait of what gets lost (and found) when a cause becomes an obsession.
  81. Batman Returns
    Batman Returns offers many jolts of pleasure, yet it’s also a mess — a gilded sketchbook of a movie that keeps falling open to random pages.
  82. Monster House
    Kenan directs with a zingy sense of kids, comedy, fright, and visual perspective. But the movie also shimmers and shakes in all its motion-capture animated beauty with the slyly deep sensibilities of executive producer Robert Zemeckis.
  83. Black Mass
    Cooper, the director of Crazy Heart and the underrated Out of the Furnace, has made a tight and tense gangster film with Black Mass. But it’s a pretty straight-ahead entry in the genre, albeit one peppered with spicy performances.
  84. The Wave
    The visual effects are excellent, but director Roar Uthaug, who’s been tapped to reboot the "Tomb Raider" franchise, splashes in the clichés of big, dumb American action movies.
  85. The Edukators
    A fluid and gripping drama from Germany (it has the design of a thriller and the mood of a spontaneous, whirling-camera character study).
  86. Slums of Beverly Hills
    Slums of Beverly Hills has the kind of big heart, strong voice, vivid look, and original sense of humor many young artists -- particularly young female artists -- don't find until they're riper, and some never find at all.
  87. Shaolin Soccer
    Everything you've ever loved (or hated) but were afraid to laugh at in Asian martial-arts movies, ''Matrix''-ian bullet-time actioners, and Farrellyesque slapstick comedies -- all rolled into Hong Kong's highest-grossing local production ever.
  88. Noi the Albino
    Paced a bit too glacially for my taste, yet it's worth sitting through for its trick ending, a twist of events as ominous as the landscape.
  89. Goodbye Lenin!
    A funny and intermittently sharp German satire that musters gentle nostalgia for East German communism while mocking the not-so-distant past.
  90. The Hateful Eight
    The Hateful Eight doesn’t have enough ideas. Set almost entirely in a snowed-in saloon, the story’s so spare it doesn’t warrant either its three-hour running time (including an overture and intermission) or his use of 70mm projection. It’s narratively and visually claustrophobic.
  91. If You Don't, I Will
    A quiet, intermittently poignant portrait of two people who've lost each other and aren't sure they want to find their way back.
  92. The Illusionist
    The Illusionist looks rigorously styled and measured, and every one of Norton's postures feels chosen. Yet the interesting actor has chosen so thoughtfully that we're riveted.
  93. Office Space
    Feels cramped and underimagined. I think Judge is capable of making an inspired live-action comedy, but next time he'll have to remember to do what he does in his animated ones--keep the madness popping.
  94. Pulse
    Nothing in the two snail-paced hours of Pulse makes close to a shred of sense?
  95. Queen and Country
    Tonally, the movie can’t decide whether it’s a comedy, a romance, or a wistful wartime madeleine. What it’s missing is the sense of joy and wonder of its predecessor.
  96. Charlotte's Web
    What hooks you from the start is Dakota Fanning's unfussy passion as Fern.
  97. The End of the Line
    Spells out the problem in clear, urgent, prosaic terms.
  98. Professor Marston & the Wonder Women
    A tasteful, surprisingly sedate biopic slathered in the traditional signposts of heavy exposition, gold-toned cinematography, and note-perfect period detail.
  99. Chuck
    Schreiber buoys the film with his characteristic blend of nuance and smirking humor, exuding likability though never lionizing the self-described “selfish prick” that he’s portraying.
  100. For Your Consideration
    Each and every character in Christopher Guest's latest hilarious cultural corrective is something inspiring to behold.
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