Entertainment Weekly's Scores

Select another publication »
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
view
per page
  1. Wander Darkly
    The film’s greatest strength is the pairing of Miller and Luna, an immensely charismatic duo who give Adrienne and Matteo’s relationship (not to mention her metaphysical crisis) credibility even where Miele’s script does not.
  2. The Last Showgirl
    [Coppola] crafts an elegy to a Vegas of a different era and the tarnished reality of once sparkling dreams.
  3. A Map of the World
    Director Scott Elliott, in his feature-film debut, is especially perceptive about what goes on at the edges during deepening family crises, literally at the borders of the screen.
  4. By Sidney Lumet
    As an introduction to a first-class director who shouldn’t require any introduction at all, By Sidney Lumet is a thoughtful and thought-provoking treat.
  5. Fast Five
    High-octane trash, but you will go "Ohhhhhh!"
  6. Spanking the Monkey
    Davies registers believable frustration and deadpan teenage disengagement in equal measure.
  7. Seven Psychopaths
    An energetically demented psycho-killer comedy set in faux-noir L.A., Seven Psychopaths rollicks along to the unique narrative beat and language stylings of Anglo-Irish writer-director Martin McDonagh (In Bruges), channeling Quentin Tarantino.
  8. Bumblebee
    John Cena is top billed, and though his brick-jawed military man doesn’t actually get many scenes, he does get a disproportionate share of the script’s best lines. He gives good muscle, but Bumblebee brings something even more important — and actually transforming — to the series: a sense of humor, and a heart.
  9. Tuck Everlasting
    A dreamy adaptation of Natalie Babbitt's cherished 1975 children's novel.
  10. Steamboy
    It's nifty to behold, but about the only drama in Steamboy lies in waiting for this colossal hovering machine-monster to blow a gasket.
  11. Elstree 1976
    There are some stretches of the film that are frankly a bit boring and wouldn’t be missed if they were cut.
  12. Boogie Man: The Lee Atwater Story
    If you want to hear juicy inside tales of the scams devised by Lee Atwater, the right-wing visionary of media-age dirty tricks, you'll find loads of them in Boogie Man.
  13. 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.
  14. The Bling Ring
    For a while, the girls' personalities seem almost interchangeable, but that's part of the texture. Katie Chang gives the leader a ripe synthetic glow, and Emma Watson does a remarkable job of demonstrating that glassy-eyed insensitivity need not be stupid.
  15. Causeway
    It's nice to see actors like these do such subtle, sympathetic work for a gifted young director — and to find an outlet for storytelling that doesn't demand neat redemption, but still allows for grace.
  16. Q & A
    Q&A is a major film by one of our finest mainstream directors. As both a portrait of modern-day corruption and an act of sheer storytelling bravura, it is not to be missed.
  17. The Trigger Effect
    Until he wraps things up much too neatly and idealistically, Koepp puts together a sturdy and efficient thriller.
  18. The Informant!
    In The Informant!, that brain -- screwy and yet capable of doing important undercover work -- free-associates like Ellen DeGeneres on a swing through Walmart. Cute, but as even Agent 86 would say in "Get Smart": Missed it by that much.
  19. Crimson Peak
    Crimson Peak is a cobwebs-and-candelabras chamber piece that’s so preoccupied with being visually stunning it forgets to be scary.
  20. Cyrano
    The real draw is Dinklage: with his mournful eyes and crooked smile, he's the tender, towering soul of Cyrano.
  21. The BFG
    Parents looking for a 21st-century E.T. to share with their kids are bound to be a bit disappointed even as their eyes are dazzled.
  22. Crash
    The stunning, must-see drama Crash is proof that words have not lost the ability to shock in our anesthetized society.
  23. The Danish Girl
    It feels like a movie that’s been lovingly crafted and put under glass in a museum. And I kept waiting for it to move me more than it did.
  24. Game Night
    McAdams, whose comedic skills have gone unsung for way too long, is dizzy fun. The whole movie is, actually, even if it pretty much evaporates on impact — a kooky, vicarious loop of Mad Libs meets Cards Against Humanity, where whoever’s holding the popcorn last wins.
  25. 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.
  26. White Palace
    Spader and Sarandon make White Palace worth seeing, but too often they’re fighting the movie’s smugness.
    • 66 Metascore
    • 75 Reviewed by
      Ty Burr
    Colors
    Sean Penn and Robert Duvall basically played the Two Faces of Dennis: hyper young firebrand and cautious older lion.
    • Entertainment Weekly
  28. The Eye
    Part supernatural thriller, part Oliver Sacks-style meditation on the neurological mysteries of perception, and part Buddhist treatise on reincarnation, the story luxuriates in shadows.
  29. Bend It Like Beckham
    The most exhilarating movie so far this year. It's made up of many familiar elements -- think ''Monsoon Wedding'' meets ''My Beautiful Laundrette'' meets ''Personal Best'' -- yet before long, you catch on to how buoyant and funny and original it is.
  30. The Prestige
    The Prestige isn't art, but it reaps a lot of fun out of the question, How did they do that?
  31. POM Wonderful Presents: The Greatest Movie Ever Sold
    Always the smooth showman, Spurlock avoids answering his own question: Is he selling out or buying in?
  32. Judy
    If the blond, marathon-lean Zellweger hardly seems like a natural doppelganger for Garland, she subsumes herself completely in the role, without ever tipping over into some kind of gestural Judy drag.
  33. I.Q.
    I.Q. is easy enough to sit through, but it’s all surface come-on-the romantic-comedy equivalent of a shallow young Hollywood star who puts on fake glasses so that it will look like he, too, has brains.
  34. Restoration
    Blinking his puppy-moist eyes and grappling with an English accent, Downey struggles so manfully in the role that one cuts him a lot of slack; working earnestly on her Irish brogue and mussing up her cupcake demeanor in the service of verisimilitude as a wise madwoman, Meg Ryan’s performance is, refreshingly, less precious than she’s been in a long while.
  35. Wonka
    In addition to committing to its sense of fun, Wonka reminds us that life is made sweetest by the people we share it with. If that’s not particularly novel, it’s still as comforting and scrumptious a notion as a chocolate bar.
  36. Truth
    For a movie about the importance of objectivity, Truth feels like a biased and sanctimonious op-ed column.
  37. Family Law
    Well acted.
  38. Elegy
    There's a poetic irony to the idea that it took a female filmmaker to finally do justice to Philip Roth on screen.
  39. Cloudy with a Chance of Meatballs
    Goes down easy enough at first. But even at a svelte 81 minutes, this meal drags on too long.
  40. Carancho
    Worth seeing.
  41. SherryBaby
    Maggie Gyllenhaal is such a miracle of an actress that she makes you respond to the innocence of Sherry's desperate, selfish destruction.
    • 66 Metascore
    • 58 Reviewed by
      Ty Burr
    Dark City
    It's a little short on coherence and long on comic-book sensationalism -- dig the hokey, climactic Battle of the Minds between the hero and a cadaverous Mr. Big -- but there's no denying the nightmarish pull of the film's aesthetic.
  43. Landline
    In sweetly calibrated moments — a downtown drug deal gone wrong; Falco alone under strobe lights, swaying ecstatically to Donna Summer — Landline finds the analog joy it’s reaching for.
  44. Stardust
    It's the closest the movies have come in a while to the nudgy, knowing fairy-tale enchantment of "The Princess Bride."
  45. Talladega Nights: The Ballad of Ricky Bobby
    The races are scorchingly shot, and they lend the movie a zest.
  46. Pie in the Sky: The Brigid Berlin Story
    Turns out to be the portrait of a serial yo-yo dieter, an impression enhanced by the 60 year old Berlin, who suggests less a former depraved scenester than a calorie compulsive Martha Stewart grown bored with good taste.
  47. I Am Trying to Break Your Heart
    A modest vérité portrait of Wilco, the engagingly melodious, deeply unglam alt-folk rockers.
  48. Trembling Before G-d
    While the compiled testimony is strong, some larger context is missing.
  49. We Don't Live Here Anymore
    The film is at times harrowing to watch, yet it's also wry and delicate and absorbing. It's infused with the messy excitement of imperfect passion.
  50. Pieces of a Woman
    Though an overwrought final hour dissipates the power of the first and its soft-focus end notes feel unearned, the film still leaves a bruising kind of mark.
  51. Strange Days
    If anything, Strange Days belongs to the rotters hovering around its edges: Michael Wincott, a vision of Drano-throated malevolence; Tom Sizemore, who, as Lenny’s bikerish pal, suggests Judd Nelson if he’d let the corruption ooze a little further out of his pores; and the wonderfully weaselly Richard Edson as an underground software techie.
  52. American Teen
    The players are timelessly familiar in American Teen, too. But filmmaker Nanette Burstein tells their stories with a distinctly 21st-century pop and audacity.
  53. Carlito's Way
    Carlito’s Way is perfectly okay entertainment, yet this 2-hour-and-21-minute movie never convinced me it wouldn’t have been every bit as good (if not better) as a lean and mean Miami Vice episode.
  54. Byzantium
    The best thing in the movie is Arterton's sultry, claw-baring turn, but mostly it's a rudderless riff on "Let the Right One In."
  55. The Edge
    Tamahori proves that he can shape a studio picture effectively to his specs; his action sense is as personal as his screenwriter’s. As for Hopkins and Baldwin, the well-matched actors grab their parts with disciplined ferocity.
    • 66 Metascore
    • 75 Critic Score
    Jackass Number Two
    Jackass Number Two is not as original, aberrantly beautiful, unrepetitious, or good as Jackass Number One, yet it will still double a lot of people over with big laughs and grossed-out disbelief.
  57. Margot at the Wedding
    Which brings us back to Kidman, who really IS sensational here.
  58. Crimson Tide
    Directed by Tony Scott, Crimson Tide is the kind of sumptuously exciting undersea thriller that moves forward in quick, propulsive waves.
  59. White Noise
    Compared to the tender groundedness of Baumbach's finest films, like The Squid and the Whale and Marriage Story, the scampering leaps and feints of his script here come off as deliberately arch, even artificial. The movie's final scene, though, without spoiling too much, is also easily its best.
  60. Shall We Dance?
    Even when the catharsis we yearn for arrives, it's tinged with restraint. But then, the true romance in Shall We Dance? is more than personal. It's the spectacle of a nation learning to dance with itself.
  61. Chip 'n Dale: Rescue Rangers
    There's a secret blandness behind the frantic insider gags.
  62. Scream
    A deft, funny, shrewdly unsettling tribute to such slasher-exploitation thrillers as "Terror Train," "New Year's Evil," and Craven's own "A Nightmare on Elm Street."
  63. Swan Song
    Without much dramatic tension beyond the will-he-or-won't-he of Cameron's final choice, the film feels oddly inert, a melancholic iPhone ad stretched to feature-length.
  64. Kick-Ass
    An enjoyably supercharged and ultraviolent teen-rebel comic-book fantasy that might be described -- in spirit, at least -- as reality-based.
    • 66 Metascore
    • 50 Critic Score
    The Jazz Singer
    The plot is powerful because it’s so absurdly melodramatic.
  66. King of New York
    Director Abel Ferrara stages the violence in electrifying spasms, and Walken, with his undead complexion, his jittery line readings, and his stare of cold rage, mesmerizes the camera.
  67. A Soldier's Daughter Never Cries
    A Soldier's Daughter Never Cries is suffused with a rarefied emotional glow, and that's something contemporary audiences may be almost desperate to respond to. Yet the movie is also tentative, rambling, and maddeningly shapeless.
  68. Mean Girls
    A vinegary fable with a Splenda aftertaste -- is a harbinger of hope not only for future feminist comedies of any grit but also for ''SNL''-staffed feature films that don't disproportionately suck.
  69. Transamerica
    The unintended effect of all the melodramatic complications in Transamerica is, oddly, to distract attention from an understanding of exactly what that courage really costs.
  70. The Tailor of Panama
    In a world full of off the rack thrillers, it's fine boutique quality.
  71. Moulin Rouge!
    The result is a musical that substitutes irony for pop passion, misanthropic disjointedness for lyrical flow.
  72. Philadelphia
    But Philadelphia turns out to be a scattershot liberal message movie, one that ties itself in knots trying to render its subject matter acceptable to a mass audience.
  73. The Good Dinosaur
    While the story attempts the moves that a Pixar film typically makes—nonverbal storytelling, death, a bittersweet ending—most of The Good Dinosaur’s punches land soft, made worse by the disconnect that exists between the overly cartoonish style of the characters and the photorealistic landscapes.
  74. 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.
  75. Miami Vice
    As entertaining as some of it is, is so cool that it's almost too cool. It takes the sin, and much of the juice, out of vice.
  76. Breaking
    A showcase mostly for Boyega and Beharie, whose tense, delicate interplay makes up much of the movie's emotional core.
  77. Paris, je t'aime
    Anthology films usually work better in theory than execution, but this feature parade of shorts is a blithe, worldly, and enchanting exception.
  78. Master
    Diallo, an inspired stylist with bold things to say, strikes the balance between thrills and ills in a way that's wholly her own.
  79. La Vie en Rose
    Hurtling and impassioned, driven by some of the greatest popular music ever recorded, this wildly overripe and unkempt biopic is a true experience.
  80. 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.
  81. Another Earth
    It's one of those stultifying aftermath-of-
a-car-crash movies.
  82. Mid90s
    He (Hill) makes Mid90s resonate with universal poignancy and electric energy; his kids are the best, messiest kind of real, and they’re alright.
  83. Swimming with Sharks
    Swimming With Sharks swipes its basic design from Robert Altman’s The Player: It’s yet another black satirical morality play about a yuppie climber who learns to be a killer. But since Guy, for all his ass-kissing resentment, isn’t really filled in as a character, our attention — and, in a curious way, our sympathy — shifts to the monster himself. When Spacey goes ballistic, only to freeze the nitroglycerine in his veins a moment later, you don’t want to look anywhere else.
  84. The Amazing Spider-Man
    What's most amazing in The Amazing Spider-Man turns out to be not the shared sensations of blockbuster wow! the picture elicits, but rather the shared satisfactions of intimate awww.
  85. Premium Rush
    Premium Rush earns its place as end-of-the-summer escapism, but I can't say that it's more than a well-done formula flick. At this point, it's just one more movie-as-ride. But this one at least lives up to its title.
  86. All of You
    Apart from the sci-fi element of the soulmate test, it's familiar fodder for romantic drama, but it's of the highest caliber thanks to its sharp script and devastating central performances.
  87. Marshall
    The film shines, however, as a taut courtroom drama.
  88. Splice
    A cheeky, great-looking, thoughtfully loopy creature feature about the lure and dangers of cutting-edge gene splicing.
  89. Spy Kids 2: Island of Lost Dreams
    The inventiveness is still superior and the network of fiends and family is extended.
  90. Heist
    If it's not up to the cups-and-balls elegance of previous Mamet movies like ''The Spanish Prisoner'' and ''House of Games,'' if it piles on more psychological fake-outs than is safe in a setup this size -- well, at least it's got that talk, that language, that thing Mamet does that is at this point as identifiable as the cadences of the Bard.
  91. Barbershop
    The mixed-up rhythms of the story rescue Barbershop from bland goodness.
  92. Bridget Jones's Diary
    Bridget's most attractive asset is that she's played by Renée Zellweger.
  93. Elf
    The disarming comedic tone -- silly and novel in its lack of cynicism -- is driven by the fearless, cheerful unself-consciousness of Will Ferrell, a big man last seen streaking (all too unself-consciously) through ''Old School.''
  94. The Way Back
    It's also filled with scenes of extraordinary survival challenges. But the result is oddly impersonal and undifferentiated.
  95. A League of Ordinary Gentlemen
    If you want a whiff of how unironic the 1970s were, consider bowling, a sport that on any given weekend was broadcast (usually on ABC) with the hushed solemnity of a moon launch.
  96. The Sisterhood of the Traveling Pants
    It's okay for a grown movie critic to admit she cried freely and with great feeling for more than half the movie, and grinned like a dork through the remainder.
  97. The One I Love
    Charlie McDowell's romantic brainteaser is disarmingly clever — too clever to spoil. But it's also repetitive and a bit too Spike Jonze lite.
  98. Harriet
    If its aim to inspire and educate inevitably leaves the movie feeling a little classroom-bound, Harriet is still an impassioned, edifying portrait of a remarkable life, and a fitting showcase for the considerable talents of its star, Tony-winning British actress Cynthia Erivo.
  99. Kingdom of the Planet of the Apes
    In a summer movie landscape littered with cynical reboots and quippy superhero sequels, there’s something refreshing about Kingdom’s earnestness, following Noa on a true hero’s journey. Caesar may be gone, but Noa is a more than worthy successor.
  100. Blood Father
    A violent, grungy, Peckinpah-lite action thriller that’s worth checking out just to be reminded how powerful an actor Mel Gibson continues to be even—if the parts aren’t coming like they once were.
Page:

Top Trailers

See all »
See all trailers »