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. Deep Cover
    Duke is out to blend the commercial, gut-wrenching pleasures of an inner- city shoot-’em-up with the complex moral rage that marked such black-cinema touchstones as Sweet Sweetback’s Badasssss Song (1971).
  2. Don't Worry, He Won't Get Far on Foot
    One imagines the real John Callahan, who died in 2010, would have appreciated a film that wasn’t afraid to call him an a—hole
  3. Reality Bites
    Ryder, good as she was in The Age of Innocence, gives her first true star performance here. Beneath her crisp, postfeminist manner, Lelaina is bristling with confusion, and Ryder lets you read every crosscurrent of temptation and anxiety, the way her tentative search for love slowly grows into a restless hunger. Yearning, hilarious, lost within their precocious self-awareness, these slackers have soul.
  4. Rosewater
    Rosewater, starring the geeky-charismatic Gael García Bernal as Bahari, is a gripping drama, smartly calibrated for Western audiences who still need an education in the bright, progressive, fight-back impulses in Iranian culture.
  5. Stranger Than Fiction
    An eminently easy-to-watch piece of one-joke pop japery, is a movie that mimics the I'm-a-character-in-my-own-life metaphysical playfulness of "The Truman Show."
  6. Cairo Time
    Cairo Time is affectingly gentle, with Juliette slowing down to open up -- a gossamer transformation that Clarkson makes tangible.
  7. Arachnophobia
    Arachnophobia is a skin-crawling horror film that never loses its cheeky, throwaway edge. 
  8. Damsels in Distress
    Gerwig can't make her character come alive, though, and neither can Adam Brody as one of their neediest male cases. In the midst of the froufrou, lovely, stalklike Analeigh Tipton (Crazy, Stupid, Love) is delightful as a student who enjoys being normal and living in this century.
  9. Selena
    The best thing going for Selena is Selena herself, played with verve, heart, and a great deal of grace by the increasingly busy Jennifer Lopez (Money Train, Jack, Blood & Wine).
  10. Mission: Impossible – The Final Reckoning
    Somehow, The Final Reckoning is 170 minutes, but, like Tom Cruise running across Westminster Bridge, it zooms. Even the acres of baffling dialogue are delivered swiftly.
  11. Black Panther: Wakanda Forever
    While a Black Panther without Boseman is undoubtedly nothing like the film's creators or any of its cast wanted it to be, the movie they've made feels like something unusually elegant and profound for the multiplex: a little bit of forever for the star who left too soon.
  12. Nowhere Boy
    By the end of Nowhere Boy, you'll feel you know John Lennon better than you ever did.
  13. Zathura: A Space Adventure
    Zathura is a rarity: a stellar fantasy that faces down childhood anxieties with feet-on-the-ground maturity.
  14. The Darjeeling Limited
    This is familiar psychological as well as stylistic territory for Anderson after "Rushmore" and "The Royal Tenenbaums." But there's a startling new maturity in Darjeeling, a compassion for the larger world that busts the confines of the filmmaker's miniaturist instincts.
  15. The Peanuts Movie
    The film disappointingly ditches the cartoonist’s modest visual formula for a photorealistic 3-D playground courtesy of the animation studio behind "Ice Age."
    • 67 Metascore
    • 67 Critic Score
    Ronin
    It's not just the crack stunt driving that makes Ronin such a welcome throwback; it's also the existential hardness of this thriller's motley band of mercenaries.
  17. Barney's Version
    Paul Giamatti, dialing down his trembly-voiced neurotic energy to good effect, gives a holy hell of a performance as Barney Panofsky.
  18. Over the Hedge
    The visual and verbal jokes are as bouncy and multilevel (hip height for adults, knee-slap-size for kids) as we have come, no doubt selfishly, to expect from DreamWorks.
  19. The Prisoner or: How I Planned to Kill Tony Blair
    Eight months of interrogation and torture in fetid Abu Ghraib followed before he was released, innocent. None of The Prisoner's showy flourishes -- animation, sound effects, fancy editing -- can match the power of Abbas' stillness as he describes one man's agony in one huge hell.
  20. The Girl with All the Gifts
    It’s a film for people who thought they never needed to sit through another zombie flick.
    • 67 Metascore
    • 83 Reviewed by
      Ty Burr
    Too Much Sleep
    Maquiling has built and sustained a mood of lovely comic aplomb. Like one of its hero's daydreams, the film evaporates on contact and leaves a serene glow.
  22. Confessions of a Dangerous Mind
    The fascination of Confessions of a Dangerous Mind, the sharp, funny, unreasonably compelling adaptation of Barris' autobiography, is the way it soft-shoes past our skepticism.
  23. The Way I See It
    What it does have in happy excess is Souza’s affable presence, and his remarkable trove of images.
  24. The Russia House
    It’s the lead actors who give the movie its surprisingly emotional texture. Connery is masterly as the boozing, disheveled, sentimental Barley — a hipster gone to seed — and he and Pfeiffer have a touching chemistry.
  25. Solaris
    Soderbergh, in essence, has come up with a plodding and far less psychologically arresting version of ''Ghost.''
  26. As Good as It Gets
    A cute premise that, upon closer inspection, rings falser rather than truer. It's pretty good, but not nearly as good as Brooks gets.
  27. Run
    If the plot tends to outline its intentions in Sharpie — and veer into pure silliness by the final third — their presence pulls all that ridiculosity over the finish line: hardly a home run, but still a brittle, nasty bit of fun.
  28. Rudo y Cursi
    The intimate movie hums with a back-in-the-hood vibe that gets the two stars playing contentedly, and delightfully, for the love of local filmmaking.
  29. Trust
    Trust, the cult-movie view turns precious and smug.
  30. Nancy
    It is not a thriller nor even, really, a mystery. Instead, much like a play, it forces you to pay attention to the nuances of each of the actors’ (very well-done) performances, to sit with the characters quietly as if in a sitting room too formal to do much else.
  31. Fight Club
    If, as Fincher has said, this movie is supposed to be funny, then the joke's on us.
  32. Price Check
    Posey, her attention divided up into slivers, is funny as hell, but she's also terrifying in her evocation of a kind of moment-to-moment PowerPoint existence.
  33. This Is It
    This Is It offers a raw and endearing sketch of a genius at work.
  34. Somewhere
    The movie's redemptive structure is a bit routine, yet I watched nearly every scene with a sense of discovery. Coppola is a true filmmaker, and in Somewhere she pierces the Hollywood bubble from the inside.
  35. Frequency
    May be the first time travel fantasy to move grown fellows with 401(k) accounts to tears.
  36. Home Movie
    Smith profiles five extraordinary American homes, and because the owners seem fully aware of the uses and abuses of fame, it's a pleasure to enjoy their eccentricities.
  37. Birth Story: Ina May Gaskin and The Farm Midwives
    Highlights Gaskin's down-home gumption as an advocate for the glory of natural childbirth.
  38. Lost Girls
    It helps immensely that the film has an actress like Amy Ryan (Birdman, Beautiful Boy) to play Mari Gilbert, whose years-long battle to get anyone at all — the press, the police, the people of New York — to care about her daughter Shannan forms the emotional core of the story.
  39. Oxygen
    A film literally made from thin air, the French thriller Oxygen (on Netflix starting Friday) is a neat little sci-fi nightmare; a cool-toned exercise in claustrophobia that nearly pulls off the innate improbabilities of its high-concept nonsense.
  40. Barbershop: The Next Cut
    Even when it falls short of its aim to get every last Beyoncé joke and Big Idea onscreen, the movie still offers what any barbershop worth its repeat customers provides: An hour or two of good company, and the feeling that you’re leaving a little sharper than when you came in.
  41. The Book of Life
    Overflowing with hyperactive charm and a spectacular sea of colors, it showcases some of the most breathtaking animation we've seen this decade.
  42. The Future
    As she did in her striking 2005 debut, "Me and You and Everyone We Know," July creates a fluid cinematic universe.
  43. Cinderella
    The fizzy cocktail combination of Blanchett’s cartoonish hauteur and Branagh’s visual razzle-dazzle and confectionary sets (courtesy of the legendary Dante Ferretti) manages to take a tale as wheezy as Cinderella and make it feel almost magical again.
  44. Alice
    Watchable and sometimes funny, but ever so thin.
  45. Once in a Lifetime: The Extraordinary Story of the New York Cosmos
    It's a stylish scramble of evocative footage, groovy music, and crazy-candid reminiscences from key players still proud to score.
  46. Ruby Sparks
    Ruby Sparks is a romantic comedy that takes off from a premise so fanciful it needs every bit of the freshness that Dano brings it.
  47. Rock School
    I'd be lying if I didn't admit that Rock School, Don Argott's amusing and spirited documentary, would seem a heck of a lot niftier if its fire hadn't already been stolen by "School of Rock."
    • 67 Metascore
    • 83 Critic Score
    The Time Machine
    Wells purists may balk, and Pal’s then state-of-the-art effects do look cheesy by today’s Industrial Light & Magic standards, but The Time Machine retains an appealing Victorian charm. Taylor, the Mel Gibson of the ’60s, is a pleasure to watch.
  49. Demonlover
    Assayas can't resist turning Demonlover into an overcalculatedly irrational rabbit-hole-to-the-dark-side thriller. The movie morphs into a ''dream,'' all right, but I confess that all I wanted to do was wake up from it and return to the slithery intrigue of corporate depravity.
    • 67 Metascore
    • 83 Critic Score
    A Simple Favor
    The film is full of panache, from its sexy French score to its glistening gin martinis, and it weaponizes style, using it to keep audiences off balance as the mystery unfolds.
  51. Time to Leave
    Moreau's few ripe scenes are choice, and she spices up the joint with her gravelly voice of je ne regrette rien.
  52. I Saw the Devil
    Somewhere in all the blood (sickening realism is a selling point), a question is posed: When does the one fighting a monster become a monster himself?
  53. The Eclipse
    What holds The Eclipse together is Hinds' sorrowful and moving performance as a man haunted in more ways than one.
  54. Kill List
    It's all very sub-Tarantino showy and empty - at least, until the head-scratching climax, which tries to be "Eyes Wide Shut," "The Wicker Man," and "The Twilight Zone" all at once, but only makes you wish that you were watching one of them instead.
  55. Tupac: Resurrection
    It's no insult to Tupac to say that he was gangsta rap's greatest matinee idol, or that he lived the part only too well.
  56. Two Girls and a Guy
    The beauty of Two Girls and a Guy is that it presents us with a hero so craven, so indefensible in his duplicity, that his twin victims leapfrog past vengeance into an almost physical state of curiosity.
  57. Looking for Eric
    The British director Ken Loach can be a master of working-class realism, but not in this cranky, rudderless shambles.
  58. Kung Fu Panda 3
    Just complicated enough to reward steady viewers and just simple enough for parent escorts to enjoy without much prior knowledge.
  59. World Trade Center
    A scrupulous and honorable film. Yet it never comes close to being a revelatory one; it sentimentalizes more than it haunts.
  60. Jimi: All Is by My Side
    The film's lack of such signature Hendrix tunes as ''Purple Haze'' may put off some — the filmmakers couldn't get the rights — but I'd argue that this obstacle forced Ridley to zig where most biopics zag. Which, when you think about it, is fitting for the story of a lefty who played his guitar upside down.
    • 66 Metascore
    • 75 Reviewed by
      Ty Burr
    The Breakfast Club
    From the neon-sign opening titles to the derivative angst of the dialogue, it's a touchstone of '80s pop culture, and a schizophrenic one, too.
  62. The Girl Who Played with Fire
    I found The Girl Who Played With Fire more gripping than "Dragon Tattoo," because this one doesn't just play with thriller conventions -- it puts them to work.
  63. Darfur Now
    The film gets a little ''We can fix this!'' inspirational for a chronicle of such staggering darkness.
  64. The Trip to Spain
    How many times can you watch two middle-aged men impersonate Michael Caine? Your answer to that question will determine whether you should tag along with Steve Coogan and Rob Brydon on their third and latest fictionalized (and largely improvised) eating tour of Europe.
  65. The Wind
    The moments that work the best are the ones where Tammi lets the pace and pulse slow down, lets the ominous wind whistle and groan, and it isn’t trying to turn The Wind into Meek’s Cutoff as interpreted by the director of Insidious.
  66. Son of Rambow
    The team who made "The Hitchhiker's Guide to the Galaxy" display plenty of whirligig energy, if not much control or lightness of touch.
  67. In Good Company
    The denouement of the movie is as preposterously happy as a children's fairy tale. But the moral is ageless.
  68. Cop Car
    Cop Car feels like a great short stretched into a mediocre feature.
  69. On the Outs
    On the Outs parses the hopes and terrors of blasted lives with an empathy that never cheapens into pity. The movie wounds as much as it heals, and that's its true power.
  70. Terminator 3: Rise of the Machines
    With him (Schwarzenegger), we return to a franchise we never knew we missed, surprisingly grateful for the star's generosity -- and evident pleasure -- in strapping on the old sunglasses and blasting adversaries to hell.
  71. Julie & Julia
    It hooks you up, happily, to your inner top chef.
  72. Emma
    Perhaps the highest praise that can be given Paltrow is that there are no appreciable performance gaps between her green talents and the rest of the truly top-drawer cast.
  73. Avengers: Age of Ultron
    Still, my real beef with these movies — and this one in particular — is how same-y they’ve started to feel. Each time out, everything is at stake and nothing is at stake.
  74. Captain America: The First Avenger
    Stolidly corny, old-fashioned pulp fun.
    • 66 Metascore
    • 42 Critic Score
    Three... Extremes
    Another pulpy Creepshow movie would be more welcome than a second installment of this stiff stuff.
  76. City Island
    Andy Garcia reminds you of what a cunning, likable actor he can be.
  77. Missing
    Directors Nick Johnson and Will Merrick sometimes strain the credulity of what shooting in-screen can do — June's laptop camera does a lot of heavy lifting — but the movie rarely feels forced or claustrophobic; it's just a whizzing, cannily of-the-moment spin on a familiar genre, reupped for the Genius Bar age.
  78. Something's Gotta Give
    Every moment spent in the company of Keaton... is such a joy that the whole is more delightful than the sum of the formulaic ingredients. Keaton makes Nicholson bounce the way Shirley MacLaine once did in ''Terms of Endearment.''
  79. The Girlfriend Experience
    The Girlfriend Experience is one of Steven Soderbergh's bite-size, semi-improvised, shot-on-DV doodles (like Bubble or Full Frontal), and it's the best one he's made.
  80. Sausage Party
    Conceived by the conjoined comedic minds of Seth Rogen, Jonah Hill, and Evan Goldberg and baked (in more ways than one) for more than eight years, the movie looks like Pixar but plays like "Pineapple Express" unleashed among actual pineapples.
  81. The Life Ahead
    It's the smaller moments shared by the movie's flawed, humble characters — Loren twirling to old samba records in magic-hour sunlight; Karimi's Hamil teaching Momo how to reweave a rug — and its immersive Italian setting that make Life worth its sweet, meandering time.
    • 66 Metascore
    • 67 Critic Score
    When Boys Leave Home
    Downhill is a serviceable film, with an admirably minimal use of title cards, and it effectively shows how difficult life can become for the working class. The ending, however, is so upbeat that it substantially detracts from the sobering pessimism of the preceding movie.
  83. Diary of the Dead
    Diary of the Dead isn't bad; it's a kicky B movie hiding inside a draggy, self-conscious-work-of-auteurist-horror one.
    • 66 Metascore
    • 42 Reviewed by
      Ty Burr
    White Hunter Black Heart
    White Hunter, Black Heart wants to show us a specific heart of darkness — a man who, by striving to kill one of nature’s grandest creatures, hoped to annihilate part of himself — but the theme gets lost in shades of gray.
  85. Alan Partridge
    Like so many reunions, this one starts off all smiles and quickly grows tiresome.
  86. Afterschool
    Campos (who was 24 when he made this jolting pic) captures the numbing psychic scramble that just might cause the YouTube generation to go morally haywire. Or become filmmakers.
  87. Me You Them
    Casé, with her sturdy, elemental body and shining eyes, is the reason phrases like ''inner beauty'' were invented, and she's also the reason this idealistic, naturalistic film by Rio de Janeiro born Andrucha Waddington has been such a success at festivals around the world.
  88. Stuart Little 2
    Very much a kiddie ride, Stuart Little 2 is lively without being hyperactive -- it's a bouncy mouse caper with a wee bit of soul.
  89. Auto Focus
    The performances are vividly alive.
    • 66 Metascore
    • 83 Critic Score
    Miller's Crossing
    If, however, you're looking for compelling characters, all the lights are blazing here but nobody's at home.
  91. Devotion
    Powell and Majors, both born with surfeits of natural charisma, strain mightily to imbue their scant dialogue with deeper meaning, but Devotion, earnest and determinedly earthbound to the end, never really captures the air up there.
  92. Dark Horse
    Fourteen years after "Happiness," why is director Todd Solondz still mucking around with the sort of idiot neurotic dweeb who makes George Costanza look like George Clooney?
    • 66 Metascore
    • 91 Critic Score
    Dead Again
    With its stylized black-and-white sequences and fast-paced melodramatic plot, this homage to film noir is both intense and purposely self-conscious.
  94. Creed II
    Creed II slavishly follows the sentimental-palooka Rocky template as if it were a sacred text. Still, it doesn’t make those old rope-a-dope tropes any less effective.
  95. Rush
    Directed by Lili Fini Zanuck, the Oscar-winning coproducer of Driving Miss Daisy (it’s her first time behind the camera), Rush has a raw surface authenticity. But that’s about all it has.
  96. Wiener-Dog
    In Wiener-Dog, Solondz just keeps telling the same dark joke over and over again—and it just keeps getting less and less funny. It’s a dog.
  97. L.A. Story
    The trouble is, nothing about this couple is particularly rooted in Los Angeles. The love affair has a bland, generic feel. What's more, the picture lacks verve.
  98. Ever After
    Between bouts of decisive action, the characters mill around the French countryside (in lovely costumes, to be sure, by Jenny Beavan) as if unsure of which sexual stereotype to bust next.
  99. Mulan
    Whether its stronger rating and more somber tone will translate to a home-bound family audience, only time and streaming revenues will tell; in the meantime, Mulan might be the closest thing to a true old-fashioned theater-going experience the end of this strange summer will see.
    • 66 Metascore
    • 75 Critic Score
    Michael Jackson's Journey from Motown to Off the Wall
    Lee’s documentary is, ultimately, enjoyably nostalgic, but says little more than what we already know.
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