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. The Rover
    A major disappointment. Bleak, brutal, and ultimately pointless.
    • 64 Metascore
    • 42 Critic Score
    Absence of Malice
    Overwrought.
  3. Marie Antoinette
    Coppola's stranded royal suggests that at heart, Marie Antoinette was just a simple girl who wanted to have fun, and got her head handed to her.
  4. Dr T and the Women
    Funny and ebullient look at a man in full confusion.
  5. About Adam
    Cotton candy story with an acrid aftertaste.
  6. Sky Captain and the World of Tomorrow
    Sky Captain is a gorgeous, funny, and welcome novelty.
  7. Napoleon Dynamite
    Filmmaker Jared Hess (who cowrote the script with his wife, Jerusha Hess) installs Napoleon front and center as a punchline in and of himself -- and as that dispiriting product of narrative defeat, a symbol.
  8. Cold Weather
    Cold Weather becomes the world's first mumblecore "thriller" - a good idea for a movie that someone, in the future, should execute a bit less lackadaisically.
  9. Suffragette
    It’s a shame that, despite some excellent performances, this urgent, well-intentioned film feels so conventional and stolid.
  10. Guilty by Suspicion
    The scandal of McCarthyism is too daunting to shake off. But Guilty By Suspicion leaves you wishing that someone would finally make a decent movie about it.
  11. Interview
    Any doubts as to whether Sienna Miller is a gifted actress should be laid to rest by Interview.
  12. Cavite
    A breakneck inner-city odyssey of jump-cut shaky-cam suspense.
    • 64 Metascore
    • 50 Critic Score
    Where the Day Takes You
    In Where the Day Takes You, a prettified look at teen homelessness in Hollywood, even a junkie’s vomit looks designer.
  14. Sunshine
    Another thinking-person's thriller from director Danny Boyle and writer Alex Garland, also co-pilots on "28 Days Later."
  15. South Central
    Whatever its melodramatic shortcomings, South Central offers a wrenching view of modern youth-gang violence by demonstrating, with desperate candor, that the civilized alternatives are fast disappearing.
  16. The Prince of Egypt
    Moses was elevating mankind to a place closer to God, but when the Red Sea parts here, the feeling it gives you isn't awe; it's closer to deep impact.
  17. He Got Game
    As is often the case with Lee, though, the film left me wishing for even more scenes of casual intimacy, still the most powerful way to carry any message.
  18. Alien: Romulus
    It's got the thrills, it's got the creepy-crawlies, and it's got just enough plot to make you care about the characters. Alien: Romulus is a hell of a night out at the movies.
  19. To All the Boys I've Loved Before
    A lightweight teen rom-com that isn’t likely to clear up anyone’s grasp of what the studio stands for, but it is breezy and charming enough to merit a watch contingent on reasonable expectations.
  20. Frozen II
    Frozen 2 makes a valiant effort to live up to its predecessor, but can’t escape its shadow.
  21. Mother and Child
    The hothouse drama Mother and Child is organized like a femme-friendly spa that specializes in treatments for the psyche rather than the skin. Soft New Agey music tinkles intrusively. Sore spots are prodded and massaged. Clients pass one another in the changing room. The ritual is exquisite to some, and excruciating to others.
  22. The Beautiful Country
    Inside the Norwegian director's glove of empathy is a fist of unappeasable anger.
  23. Goat
    Schnetzer, whose stock is sure to soon rise, is a shape-shifter — you’d never look at this gay Irish 1980s activist in Pride and conclude that it was the same person — but in only a few roles so far, he’s shown an extraordinary ability to portray both vulnerability and the mask screwed on to hide it.
  24. The Tic Code
    Badly lit and at times, awkwardly inspirational, yet there's real feeling in it, especially when the movie suggests that Tourette's syndrome is every bit as pure an expression of the spirit as it is a ''disorder.''
  25. Frailty
    Against all odds in heaven and hell, it creeped me out just fine.
  26. 8 Women
    The result is weightless entertainment that's both camp and true, a warped adoration of star-quality actresses as amazing creatures who can project the lives of fictional characters as well as the essence of their own fabulous selves.
  27. Joe the King
    So willfully bleak and profanity-filled, it could only have been written and directed by an actor.
    • 64 Metascore
    • 75 Critic Score
    Tae Guk Gi: The Brotherhood of War
    Always entertains, just like ''Pearl Harbor'' and the rest of the best of Hollywood's dumb war movies.
  29. Sleeping with Other People
    It’s a smart, flawed movie about smart, flawed people.
  30. Wanted
    Best of all, there's a lot of Jolie, barrels blazing. The star's fearlessly sexy hauteur is unique in the biz today. And when she works it in Wanted, she kills, bullets optional.
  31. Wes Craven's New Nightmare
    Wes Craven’s New Nightmare lacks the trancelike dread of the original Nightmare, and it features almost none of the ingeniously demented special effects that made the series’ third installment, Dream Warriors, a hallucinatory exercise in MTV horror. This one is just an empty hall of mirrors.
  32. Adoration
    The upshot is that those who appear to be guilty may not be -- a muddled message for our time.
  33. Outbreak
    For today’s filmmakers, the addiction to kinetic overkill has become a disease in itself.
  34. JCVD
    A reality-twisting cousin to "Being John Malkovich" -- showcases a Van Damme who's sly like a fox about his own image.
  35. Cop Land
    Dense, meandering, ambitious yet jarringly pulpy, this tale of big-city corruption in small-town America has competence without mood or power -- a design but not a vision.
  36. Captain Marvel
    Captain Marvel only figures itself out toward the end, when a couple twists I won’t spoil sharpen the spanning saga into a motley-crew errand of mercy.
  37. Ghosts of Cité Soleil
    A spectacularly turbulent portrait of the chaos and bloodshed that have come to define Haiti.
  38. Dolphin Tale
    While the plot occasionally feels like "Free Willy" without the drama, it's a cute story if you don't mind temporarily trading in your cynicism for a bag of popcorn.
  39. A Better Life
    A Better Life was directed by the eclectic Chris Weitz (The Twilight Saga: New Moon, About a Boy), who weaves the torpor and anxiety of immigrant life into something dramatically true, if at moments a bit draggy.
  40. Hot Shots! Part Deux
    Much of the time, the film itself veers perilously close to becoming the sort of high- body-count action spectacular it’s supposed to be parodying. When gags are tossed off in the midst of bomb blasts and deafening machine-gun fire, is it any wonder that audiences will tend to ignore the comedy and focus on the mayhem? If Hot Shots! Part Deux proves anything, it’s that making fun of big, raucous, sky-high explosions is a joke of rapidly diminishing returns.
  41. The Notorious Bettie Page
    The movie, in a sense, is just like Bettie's photos: all glorious surface. The Notorious Bettie Page captures, with seductive finesse, how Bettie Page happened, yet what it leaves us with is the tantalizing enigma of a girl who couldn't truly be ''bad'' because she made sex divinely delicious.
  42. Unstoppable
    The movie is well made and it’s a lovely celebration of a real-life hero. But the whole thing feels very predictable, which amounts to a general sense of mediocrity.
  43. A Thousand Years of Good Prayers
    A spare, controlled study in communication gaps and a piercing sketch of suburban American loneliness.
  44. Clockwatchers
    There’s a wisp of a plot (who could the office klepto be?), but most of Clockwatchers is as empty of drive and imagination as its poor-little-victim heroines, who never seem more than sulky, overgrown high school girls.
  45. Pooh's Heffalump Movie
    Pooh's Heffalump Movie is a harmless little ''ex-po-tition'' (to use a Pooh-ism). Still, making this your kids' first Pooh experience would be like weaning them on New Coke.
  46. The Innkeepers
    Wide-eyed Sara Paxton and hipster-bespectacled Pat Healy play the joint's only two employees, working each other into a lather of what turns out to be well-founded hysteria. Kelly McGillis is a surprise treat as a grouchy medium.
  47. Northfork
    It has that vintage Polish pace, their signature arch pomposity and rhythmless weirdness, only this time the brothers had to go and make a cosmic allegory of American dreams.
  48. One Hour Photo
    In One Hour Photo, Williams is a snapshot of human complexity worth framing.
  49. Father and Son
    Sokurov's new companion piece (to "Mother and Son"), has the tedium without the trance.
  50. Beavis and Butt-Head Do America
    Scene for scene, the duo are in good form. Yet this is one case where more turns out to be less.
  51. Quartet
    Dustin Hoffman, a 75-year-old first-time feature director better known as a great old acting pro, conducts at a pleasant tempo.
  52. Prometheus
    This is jumbo-size science fiction, with a handsome, impermeable titanium gleam - and a thick coating of creationism lite.
  53. Fast Color
    Mbatha-Raw brings a fierce, quiet containment to the lead role, and Hart builds so much mood through her atmospheric cinematography and deliberately slow pacing that it nearly papers over the sketched-in quality of the script. Eventually, though, you start to wish her characters would speak in more than just vague koans and disaster-movie platitudes.
  54. Goon
    He can barely skate, but it hardly matters: As a goon, he's a genius.
    • 64 Metascore
    • 58 Critic Score
    Princesas
    The way that Aranoa so clearly venerates his lively women feels Almodóvar-esque, but the movie aims most of all to suggest that hookerdom is hell -- and it's neither realistic nor unsentimental enough to pull that off.
  56. Always Be My Maybe
    The stuff of a thousand future Twitter gifs, though, is a featured appearance by Keanu Reeves. It’s better not to know too much about his role going in, other than that nearly everything about it has the winking air quotes of a movie star playing directly to his own storied Hollywood history, and that it is for the most part ridiculously fun.
  57. The Truth About Cats & Dogs
    The Truth About Cats & Dogs is very funny around the edges... but as the characters begin to hang out together, forming a platonic menage a trois, the mistaken-identity ruse never escalates into true screwball lunacy.
  58. The Pursuit of Happyness
    It's a beautiful and understated performance, one that hums with a richer, quieter music than Smith has mustered before.
  59. In Praise of Love
    Godard, as always, sounds full of insight, yet he uses the past to damn the present in a way that may be reflexively self-serving. In Praise of Love leaves a taste as bitter as poison ash.
  60. Eight Below
    There's something invigorating about this unpretentious dog tale. And if a penguin drops by to promote his own movie product, well, there's room on the frozen continent for all.
  61. Bombshell
    Bombshell belongs to its three main female stars. It’s their fierce, finely shaded performances that transcend the film’s drab visual style and drier episodic moments — not just by speaking truth to power, but by confronting the audience’s own ideas of who the right to do that belongs to.
  62. Belle
    Like "Downton Abbey" but with corsets, culottes, and tricorn hats, Belle subtly skewers the absurd rules and hypocrisies of class. But the real takeaway is Mbatha-Raw. She makes a case for why she ought to be a star.
  63. Suspiria
    It’s likely to be enjoyed more by audiences unfamiliar with the original.
  64. Avenue Montaigne
    For Yank color in her soap-bubbly movie, director Daniele Thompson has her pal Sydney Pollack appear as...a famous director.
  65. 1408
    A deft Stephen King freak-out.
  66. The Low Down
    Gillen can't make good on his gaze's search and destroy capabilities.
  67. Gigantic (A Tale of Two Johns)
    A unintentionally funny fanzine-flavored documentary.
  68. Mondays in the Sun
    The performances are relaxed. The open-ended, vignette-like structure of the filmmaking sometimes imitates the movement of weary, life-worn men nursing liquor.
  69. Enigma
    A turgid muddle of romance, espionage, and geek valor, despite intimations that it might have turned into ''A Reasonably Dapper-Looking Mind.''
  70. The Sixth Sense
    It's a psychological thriller that actually thrills.
  71. Harold & Kumar Go to White Castle
    Harold and Kumar share a quality the overgrown adolescents in films like this are never allowed to possess: They're witty, focused, and highly aware. They make having a brain look hip.
  72. Swiss Army Man
    A hot, strange mess that never quite comes together the way it should.
  73. Fright Night
    It ends up getting a surprising number of things right.
  74. Ready or Not
    So come for the crossbows, etc., and to watch Weaving’s star be born in real time; stay for the socio-economic lessons and sweet, sweet revenge.
  75. Che
    As political theater, Che moves from faith to impotence, which is certainly a valid reading of Communism in the 20th century. Yet as drama, that makes the second half of the film borderline deadly.
  76. Youth
    As it is, Youth is hit-and-miss, beautiful and frustrating.
  77. Look Both Ways
    Ineffably Australian and intriguingly (rather than annoyingly) artsy, Look Both Ways introduces a handful of people gobsmacked by life-changing crises, all of them trying to make sense of responsibility, mortality, and connection.
  78. Nasty Baby
    Subverting expected narratives may have been Silva’s aim all along; still, the turn isn’t just nasty, it’s confounding.
  79. Come Early Morning
    The baby-voiced costar of "Chasing Amy" proves an effortless filmmaker, turning Lucy’s journey into the awakening of a soul.
  80. Muppet Treasure Island
    Tim Curry makes a fine, flashy Long John Silver, and charming newcomer Kevin Bishop is a lively, toothy young Jim Hawkins, but it’s Gonzo and Rizzo the Rat who make Muppet Treasure Island, the Muppets musical adaptation of the Robert Louis Stevenson, novel a hoot.
  81. Elvis
    It may not be slavishly devoted to the facts (this isn't your typical birth-to-deather), but as with Todd Haynes's glam fantasia Velvet Goldmine, the movie achieves something trickier and more valuable, mining shocking intimacy from sweeping cultural changes.
  82. Vénus beauté (institut)
    Clever and smooth, yet, like Angèle herself (or Nathalie Baye), the film is almost too placid for its own good.
  83. American Psycho
    Funny, pungent, and weirdly gripping.
  84. Identity
    The hardest work falls to Cusack, a subtle actor with a valuable gift for conveying the sadness and loneliness beneath the skin of even the most jaded and self-contained men-about-town.
  85. Intermission
    The first Irish creation I've seen in ages to pull off the high-difficulty feat of trafficking in grit, drollery, and emotion without turning to blarney as a crutch.
  86. Team America: World Police
    I was amused more or less throughout by the ingeniously designed and executed stunt that is Team America.
  87. You Kill Me
    Inert dud of a hitmen-are-people-too comedy.
  88. Living Out Loud
    Living Out Loud is like "An Unmarried Woman" recast as a sitcom-cute update of Marty.
  89. Killing Them Softly
    Killing them Softly is a lurid and nasty little nihilistic hitman noir, with an ingenuity that sneaks up on you.
  90. Downsizing
    The result is a dadaist swirl of satire, pie-eyed whimsy, and speculative futurism — like "Gulliver’s Travels" through the wrong end of a telescope.
  91. Barb & Star Go to Vista Del Mar
    Like some of the old-timey classics it recalls — Blazing Saddles, Airplane, the first Austin Powers — Barb and Star commits to its deep silliness so sweetly and completely that you can't help falling a little bit in love with them too.
  92. Bound
    The true pleasures of Bound lie in the Wachowskis' inventive updated take on film noir traditions, sensuously realized by cinematographer Bill Pope ("Clueless").
  93. Brideshead Revisited
    The one performer who seems at home with the gravity of it all is Emma Thompson.
  94. Fifty-Fifty
    Working from a script cowritten with accomplished Siberian filmmaker Sergey Bodrov, the director creates a taut picture of a place, and a liberating moment of choice.
  95. Comedy of Power
    Chabrol has fashioned a mystery that caves in on itself, but unfortunately, it caves in on the audience, too.
  96. Cloverfield
    Cloverfield, a surreptitiously subversive, stylistically clever little gem of an entertainment disguised, under its deadpan-neutral title, as a dumb Gen-YouTube monster movie, makes the convincingly chilling argument that the world will end -- or, at least, Manhattan will crumble -- with a bang and a whimper.
  97. Fury
    Pitt, for instance, could've used a scene like Tom Hanks' in "Saving Private Ryan," where we learn something — anything — about his life back home and what he's fighting for besides the Stars and Stripes. Instead, Fury (the title comes from the name of the tank) just plods from one brutal, bloody combat scene to the next.
  98. 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.
  99. To the Bone
    For young people suffering, the movie offers both hope and clarity; for more experienced viewers, it may come off a little too much like "Girl, Interrupted" through a Lifetime lens.
  100. The Young Victoria
    The Young Victoria has a subtler flow than you might expect, and at times it's calmer than you may like. Director Jean-Marc Vallée's images have a creamy stateliness, but this is no gilded? princess fantasy.
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