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. Cool It
    The telegenic Lomborg is the on-camera "star" of the show, while his angry critics growl on cue.
  2. Unstoppable
    The exchange of substance for speed may not appeal to all, but if you're on board you'll find it hard to disembark.
  3. Saw 3D
    Now that the series is, it can be said that the most disturbing thing about the Saw films is the way that they turn torture into a wink of megaplex vengeance. They're made, and consumed, as a big bloody joke, and that's scary.
  4. White Material
    French mood-and-feeling master filmmaker Claire Denis returns to the Africa of her youth for an intense, mysterious drama exploring revolution and loss.
  5. Love and Other Drugs
    An old-fashioned romance-and-sickness picture, a publicity-grabbing sex picture, an Apatow-lite horny-boys picture, and a liberal satire on pharmaceutical-industry excesses committed in pursuit of pill sales - all in one.
  6. Faster
    Faster grafts that genre's style onto a deadbeat script and leaves it to Johnson - as deadly focused as a gunsight - to make it all believable.
  7. Monsters
    Monsters is really a road-movie romance that tracks the burgeoning relationship between two strangers as they travel through the "infected" zone.
  8. Guy and Madeline on a Park Bench
    Damien Chazelle's extraordinary black-and-white retro dream of a feature debut.
  9. Heartless
    Unpredictability isn't this horror film's strength, but it's stylishly crafted and excellently acted, and it boasts an abundance of heart in every sense of the word.
  10. Tiny Furniture
    Tiny Furniture is proof, against steep odds, that there are no small stories, only small storytellers.
  11. The King's Speech
    Lest the audience miss a cue, Hooper and soundtrack composer Alexandre Desplat count on the ringing grandeur of Beethoven's Seventh Symphony - the famous second movement, no less - to amp the emotions.
  12. Tangled
    There's also a Disney den of big, comically dumb-looking bad guys who turn sweet when Rapunzel sings to them. Because Happily Ever After never goes out of fashion
  13. Burlesque
    Earnestly ersatz down to every spangle, dance move, plot turn, and line of hokum dialogue, Burlesque is a showbiz pic for these American Idol times - a time when we agree to pretend that mediocre mimicry of better artists is good enough to keep us entertained. We agree to pretend that quality is in the eye and ear of the undemanding beholder.
  14. Inspector Bellamy
    Depardieu and Marie Bunel (as Bellamy's wife) have a terrific interplay, but Chabrol's sharp direction can't quite rescue his fuzzy script.
  15. Harry Potter and the Deathly Hallows: Part I
    Harry Potter and the Deathly Hallows - Part 1 also bravely faces the future, slipping with expert ease among the thrilling mass of complications (and complicated set pieces) that Rowling throws fans in the final sprint, then guiding the faithful to the fate that awaits everyone in this world, the moment called The End.
  16. Rabbit Hole
    Eckhart shows a new kind of foreboding anger. He's powerful as a man who will do anything to crack the ice.
  17. The Tempest
    Theatrically ambitious, musically busy, and in the end cinematically inert - clearly reflects the authorship of myth-loving director Julie Taymor.
  18. The Fighter
    This one, as thoughtful as it is rousing, scores a TKO.
  19. The Chronicles of Narnia: The Voyage of the Dawn Treader
    I'm confounded by the fact that, aside from the Pevensie siblings and their nicely obnoxious cousin, absolutely everything and everyone aboard the Dawn Treader looks one-dimensional.
  20. The Tourist
    The Tourist isn't a debacle, but it's a caper that's fatally low on carbonation.
  21. Night Catches Us
    Writer-director Tanya Hamilton's intellectually ambitious debut drama Night Catches Us is all the more notable for setting well-drawn fictional characters in a fraught, real moment in civil rights history.
  22. The Warrior's Way
    There isn't a shred of subtlety in their clowning - or in any part of the movie, which clumsily shoots for operatic highs and lows. But with so many borrowed bits and pieces, the only feeling it successfully evokes is déjà vu.
  23. The Company Men
    Kevin Costner, as Bobby's carpenter brother-in-law, does the finest character acting of his career.
  24. I Love You Phillip Morris
    It's the beaming movie-star intensity of the complicated comic Carrey in the role of the dominant lover and Obi-Wan Kenobi McGregor as the gentle beloved that makes this unfettered, stranger-than-fiction picture pop.
  25. Black Swan
    Lurid and voluptuous pulp fun, with a sensationalistic fairy-tale allure. You can't take it too seriously, but you can't tear your eyes away from it, either.
  26. The Nutcracker
    Terry Gilliam-ish territory here, spiked with imagery from Holocaust nightmares and drug trips. Attention, university film clubs: Here's your cult-ready midnight-movie programming.
  27. Boxing Gym
    A riveting and unexpectedly inspiring essay on the peace that comes from shared physical and mental concentration.
  28. William S. Burroughs: A Man Within
    A well-made but overly idolizing documentary.
  29. Today's Special
    The cooking scenes are fun, but Samir's reawakening and romance with a co-worker (Jess Weixler) hold about as many surprises as a prix fixe meal.
  30. Made in Dagenham
    Waving a dubious flag of feminist inclusivity, Cole and screenwriter William Ivory turn cartwheels insisting that girl power, even in the 1960s, trumped class divisions.
  31. The Next Three Days
    Damon's how-to-break-the-law lesson - as ludicrous as anything else in this enjoyably zigzaggy exercise in accumulating peril - grants Neeson the fun of experimenting with an American ex-con accent for his one scene.
  32. Skyline
    Basically a nifty VFX reel in search of a plot.
  33. Four Lions
    These guys are not charming; they're horrifying in their ignorance, and they cause real damage. But there's a weird relief to be found in the opportunity to laugh ourselves sick at their expense, if only for an instant.
  34. Morning Glory
    Where Broadcast News mourned the trivialization of the nightly news, Morning Glory asks you to learn to stop worrying and love the trivia.
  35. Red Hill
    A serving of "True Blood's" Ryan Kwanten in his native accent is the chief selling point of this picturesque, contentedly imitative Australian Western/thriller/Coen-brothers homage, the feature debut of writer-director Patrick Hughes.
  36. Outside the Law
    Rachid Bouchareb's intensely dramatized, passionately partisan story of militancy in the struggle for Algerian independence from France after World War II makes effective use of "Godfather" storytelling theatrics.
  37. Client 9: The Rise and Fall of Eliot Spitzer
    Deepens the saga of New York's former governor and attorney general into the paradoxical morality play it really was. Spitzer, almost three years after he was caught soliciting escorts, comes off as chastened but still regal, like a hawkeyed Jewish Kennedy.
  38. Fair Game
    Fair Game gets you riled up all over again at a deeply unpatriotic abuse of power.
  39. For Colored Girls
    Perry has taken Shange's feminist word-and-movement portraits of disenfranchised African-American women and turned those howls into...a maddeningly choppy mess of a Tyler Perry movie.
  40. Down Terrace
    A dark and hilarious thwomping of the whole miserablist British gangster genre.
  41. Wild Target
    The cast, though, includes a great bunch of Brit faves who have all done better work elsewhere.
  42. Strange Powers: Stephin Merritt and the Magnetic Fields
    The affectionate, bemused, structurally unkempt portrait is at its best capturing Merritt's close collaboration with his longtime friend and bandmate Claudia Gonson.
  43. Welcome to the Rileys
    Rileys has been casually dubbed "Kristen Stewart's stripper movie," but the handle doesn't stick: Stewart may wear skimpy clothes and grind once or twice from the neck down, but from the neck up she's all hollow, bruised eyes, twisted little mouth, and classic, coltish K-Stew rebellion.
  44. The Girl Who Kicked the Hornet's Nest
    Mostly an epic rehash of the tale Larsson has already told, and that makes it, at two hours and 28 minutes, the first movie in the series that never catches fire.
  45. 127 Hours
    A true-life adventure that turns into a one-man disaster movie - and the darker it gets, the more enthralling it becomes.
  46. Conviction
    The ever-magnetic Sam Rockwell is Kenny, Minnie Driver is full of beans as Betty Anne's best friend, Melissa Leo is wicked good as an ornery cop, and, in her two chewy scenes, Juliette Lewis reminds fans why we want her to run free forever.
  47. Paranormal Activity 2
    Even when nothing is happening, the often dead-silent shots tend to grow scarier the more you look at them.
  48. Hereafter
    The signature Eastwoodian music that the director lays over the proceedings - piano tinkle, guitar pluck, and an echo of Rachmaninoff out of Noël Coward's Brief Encounter - can't hold the assemblage together.
  49. Tamara Drewe
    This rotely cheeky, Anglo-plastic adultery comedy is set in the golden-green English countryside, and it makes a few quirky nods toward artistry, but it's really just a glib concoction.
  50. Stone
    Milla Jovovich slinks cartoonishly as Stone's seductive wife, on a mission to compromise the lawman. Lordy.
  51. And Then I Go
    In quiet, often dream-like interludes that frequently burst open into scenes of brutal verbal or physical violence, director Vincent Grashaw explores what it’s like to be Edwin, so battered by anxiety and anger and a crushing sense of unfairness that he hardly sleeps at night.
  52. RED
    Unfortunately, while RED's stars may have gotten better with age, its many clichés have not.
  53. Jackass 3-D
    More than ever, Johnny Knoxville and his boys belong to a very elite club of idiocy. They martyr themselves for our diversion, driven at every moment to ask: Are you not entertained?
  54. Carlos
    A rivetingly journalistic account of a scoundrel's rise and fall.
  55. Gerrymandering
    Arnold Schwarzenegger appears as the rare politician who supports reform in this timely exposé of how our democracy has slipped off its tracks.
  56. Secretariat
    This pleasantly rote movie will rouse you.
  57. I Spit on Your Grave
    Now it's just some thin chick in her underwear, kicking butt.
  58. It's Kind of a Funny Story
    It's Kind of a Funny Story may be the first psych-ward drama to draw on John Hughes movies for tonal reference.
  59. Life as We Know It
    There's something about Holly: She's the most ridiculous, irritating, two-dimensional rom-com heroine since...Katherine Heigl's last rom-com.
  60. Nowhere Boy
    By the end of Nowhere Boy, you'll feel you know John Lennon better than you ever did.
  61. My Soul to Take
    Wes Craven's first new movie in five years is a brainless, joyless, and yes, you might even say, soulless teen slasher.
  62. Marwencol
    This tender documentary considers the mysteries of both art and coping.
  63. Case 39
    An aggressively inept demon-seed chiller starring a bunch of grown-ups who should've known better.
  64. The Social Network
    The power of The Social Network is that Zuckerberg is a weasel with a mission that can never be dismissed. The movie suggests that he may have built his ambivalence about human connection into Facebook's very DNA. That's what makes him a jerk-hero for our time.
  65. Let Me In
    The surprise of Let Me In is that director Matt Reeves (Cloverfield) hasn't just remade the Swedish cult vampire film "Let the Right One In" into a more fluid and visceral movie. He's made it more dangerous.
  66. Freakonomics
    As a movie, Freakonomics is like Jujubes for the brain - it starts to get cloying halfway through the box.
  67. Douchebag
    It's a minimalist "Sideways," not so much mumblecore as talkycore.
  68. Wall Street: Money Never Sleeps
    A lot of Money Never Sleeps - too much - is about Gekko père's desire to reconnect with his very angry daughter.
  69. You Again
    Yes, You Again. We've met before.
    • 53 Metascore
    • 83 Critic Score
    Legend of the Guardians: The Owls of Ga'Hoole
    Director Zack Snyder (300) has crafted the rare 3-D eyegasm that's worth the premium ticket price.
  71. Buried
    The political angle is gratuitous, even foolish, and certainly a distraction from the movie's visual strengths.
  72. Enter the Void
    Director Gaspar Noé proved a shock poet in "Irreversible" (2003). In Enter the Void, he's a shockingly tedious show-off.
  73. Waiting for 'Superman'
    Powerful, passionate, and potentially revolution-inducing documentary.
  74. You Will Meet a Tall Dark Stranger
    The best scenes are hilarious sessions between the great Gemma Jones and the wonderful Pauline Collins as a charlatan fortune-teller.
  75. Easy A
    Easy A has some agreeable fast banter, but it's so self-consciously stylized that it wears you out.
  76. Alpha and Omega
    Underwhelming in the style of most off-brand CG, Alpha and Omega is livened by pretty Rocky Mountain backdrops and leadened by stock characters and the wolves' weirdly prissy behavior.
  77. Devil
    A pocket-size supernatural thriller that plays a bit like Agatha Christie's "Ten Little Indians" retold by an unstable Sunday School teacher.
  78. The Town
    A rich, dark, pulpy mess of entanglements that fulfills all the requirements of the genre, and is told with an ease and gusto that make the pulp tasty.
  79. Catfish
    In Catfish, the camera's-rolling readiness to trawl for drama leaves a slimy aftertaste.
    • 69 Metascore
    • 58 Critic Score
    Never Let Me Go
    It's a very tony fantasy of class oppression and fascist medical exploitation (themes that may speak louder in England), but it's a lyrically inert movie.
  81. Legendary
    A well-meaning dud.
  82. The Virginity Hit
    Works cleverly because it emerges right out of the everyone's-an-exhibitionist YouTube age
  83. Heartbreaker
    Heartbreaker is like a caper comedy meets "The Bodyguard" - it's winsome and accomplished fluff.
  84. I'm Still Here
    An artful piece of exploitation vérité.
    • 37 Metascore
    • 25 Critic Score
    Resident Evil: Afterlife
    Afterlife is slow-moving but relentless, and judging from a post-credits teaser that promises yet another sequel, it has an unquenchable appetite for your brain cells.
  86. The Romantics
    Clumsy camera work adds to the pre-wedding jitters in writer-director Galt Niederhoffer's pashmina-thin drama about attractive self-congratulatory Yale alumni gathering for the nuptials of two of their own.
  87. Going the Distance
    Going the Distance may be a minor movie, but it's also the rare romantic comedy in which you can actually believe what you're seeing.
  88. Machete
    A gory, pulpy wink of an action thriller, was spun out of a parody trailer Rodriguez directed for the '70s-trash homage "Grindhouse" (2007). The trailer was sublime. As a feature, Machete is more fun than it isn't, but its deadpan mockery of exploitation clichés often slips a bit too close to being the real, schlocky thing.
  89. Last Train Home
    This is essential viewing for understanding our world.
  90. A Woman, a Gun and a Noodle Shop
    I wish I could say that the film is half as intriguing as it sounds, but A Woman, a Gun... lacks the Coen brothers' precision, their diabolical game-board cleverness. It's a remake in shaggy outline only.
  91. The American
    The role requires Clooney to dial down his charm to nearly zero, and frankly, he looks twitchy and uncomfortable without it.
  92. Takers
    At least they do look sharp in those suits.
  93. Mesrine: Killer Instinct
    The events may be accurate, but Mesrine is so episodic that it's slightly maddening to watch.
  94. The Last Exorcism
    For a while, The Last Exorcism shrewdly exploits our voyeurism, as it sustains the teasing question of whether there's actually anything supernatural going on. The payoff, however, isn't scary enough.
  95. Centurion
    The plot's pretty thin -- even for a gladiator movie. Fortunately, when it comes to crunchy impalings and messy arterial geysers, Marshall's a maestro.
  96. Piranha 3-D
    I call Piranha 3D ''exploitation,'' rather than a quality scare movie, because it serves up well-timed gross-outs instead of genuine suspense and because the movie has no pretense of providing character, plot, acting, or dialogue that's anything more than boilerplate.
  97. Lottery Ticket
    If Lottery Ticket had as much conviction as laughs, it could have hit the jackpot.
  98. Nanny McPhee Returns
    Thompson, who also wrote the script, has skittery, baffling fun enjoining her plummy guest actors (including Ralph Fiennes, Rhys Ifans, and Maggie Smith) to play broad Brit types.
  99. The Switch
    Squeezes fresh laughs out of what is, in essence, a rather startlingly post-Freudian, nature-trumps-nurture view of child development.
  100. The Tillman Story
    Unravels the deceptions -- and the deep dishonor -- that inflated life-size valor into fake superheroism.
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