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. Nobody Else But You (Poupoupidou)
    Writer-director Gérald Hustache-Mathieu sustains a fresh voice influenced by the Coen brothers and the infernal snow of "Fargo."
    • 63 Metascore
    • 75 Critic Score
    What's Up, Tiger Lily?
    References to vibrators and cattle prods mark the emergence of a hipper style of comedy, and, for the kids, there are gratuitous numbers by the Lovin’ Spoonful.
  3. Hard Target
    By the time Hard Target reaches its amazing climax, set in a warehouse stocked with surreal Mardi Gras floats, the film has become an incendiary action orgy, as joyously excessive as the grand finale in a fireworks show. Woo puts the thrill back into getting blown away.
  4. Flowers
    The film is undercut by long metaphorical stretches that dampen their impact.
    • 63 Metascore
    • 83 Critic Score
    They All Laughed
    They All Laughed, Peter Bogdanovich’s quiet romantic comedy about two Manhattan detectives (Gazzara, Ritter) following, and falling for, their subjects (Hepburn, Stratten), was unfairly overshadowed when Stratten, in 1980 (after filming had wrapped), was murdered by her estranged husband.
  6. Wendigo
    If you think it all adds up to a bald-faced rip off of ''The Shining,'' you'd be right, with a crucial difference: Wendigo trades the puffed-up metaphysics of middle-class murder for the no-budget spectacle of...an incredibly fake-looking monster deer.
  7. Out of Time
    Entertainingly deft sleight-of-hand thriller.
  8. He Loves Me... He Loves Me Not
    The fact that it's difficult to believe someone who looks as dewy as Tautou would be so dangerous is much of the game.
    • 63 Metascore
    • 91 Critic Score
    Secretary
    There's a word for an actress who can go from nervous to winsome to raunchy to romantic in a heartbeat and get you to adore her the whole time. The word is star.
  10. Drumline
    Does more than capture the excitement of marching bands; it gets their clockwork beauty as well.
  11. The Patriot
    It's a death-wish revenge thriller posing as a lavishly pastoral historical epic.
  12. Misha and the Wolves
    The insights of the doc don't reverberate far beyond the story it's telling. But oh, what a story.
  13. A Perfect Getaway
    Steve Zahn makes full use of the many varieties of hyper in his acting arsenal, while Timothy Olyphant has a heckuva good time telegraphing macho mania.
  14. Walk Hard: The Dewey Cox Story
    The movie walks the line of surreal vulgarity (you will not, repeat not, expect the penis), yet most of it, intentionally, is less nutzoid than your average megaplex genre parody.
  15. The Guilty
    Guilty, for all its wild-eyed excess, does find some blunt-force propulsion for a while, particularly if you're coming to it new. But the movie seems to mistake the taut minimalism of the original for something that needs to be goosed and adrenalized, a thriller on constant defibrillator.
  16. Don Juan DeMarco
    There's no great romantic climax to Don Juan DeMarco (and that may be a drawback for Depp lovers looking to swoon), but there is an airy delicacy to this tall tale that fits in perfectly with the weather these days, the hormones, the whole seasonal gestalt.
  17. My Cousin Rachel
    A gothic moodpiece masquerading as a thriller, My Cousin Rachel is a misdirected swoon of a movie—long on black-veiled romance and ravishing atmosphere and a little short, alas, on dividends.
  18. Hors Satan (Outside Satan)
    Dumont's rigorous, serious attention to the mysteries of good, evil, and faith rewards those willing to be confounded.
  19. The Lincoln Lawyer
    Plot leaps that are fun on paper look generic on screen; here's another lawyer movie in which the characters are only as interesting as the actors playing them.
  20. Young & Beautiful
    Young & Beautiful, with its barrage of fairly graphic sex scenes, is a throwback to the erotically charged, envelope-pushing Euro art-house films of the '60s and '70s such as Blow-Up and Last Tango in Paris.
  21. Piece By Piece
    There are glimmers of insight here, often in the brighter moments (for instance, the sweet story of how Pharrell devised his massive hit, "Happy," and the emotional response triggered by its success). But despite touting an inventive concept, the whole thing remains fairly surface level.
  22. The Merchant of Venice
    Pacino shows you what is only subliminally in the text: that Shylock's heart of stone is really a wall of wounded pride.
  23. Nyad
    It is quite the tale of heroism and courage in the face of adversity, as well as the importance of teamwork and never giving up. But that is all diluted with so many things at play.
  24. Kingdom of Heaven
    Scott, working from a script by William Monahan, is so busy balancing our sympathies, making sure no one gets offended, that he has made a pageant of war that would have gotten a thumbs-up from Eleanor Roosevelt.
  25. Sarah Silverman: Jesus Is Magic
    If you're going to say the unsayable and stay charming while doing so, it helps to look more like Sarah Silverman than Andrew Dice Clay.
  26. The Electrical Life of Louis Wain
    The film can't seem to stop piling on idiosyncrasies, a kind of willful kookery that mixes uneasily with the more serious elements of personal tragedy and mental illness that run through it.
  27. Chronicles
    The moral murk of Crónicas would be more effective if the story weren't so contrived, yet the movie is worth seeing for Leguizamo's sinewy urgency, Alcázar's desperate cleverness as the killer, and the squalid, frantic atmosphere of Latin American hunger.
  28. The Hitchhiker's Guide to the Galaxy
    At selected moments the Pee Wee's Playhouse-scaled visual goofiness and flights of thespian bravura in this long-awaited movie adaptation of Douglas Adams' goofy-wise cult classic are in perfect celestial harmony with the existential tomfoolery of Adams' peerless (and peerlessly Monty Python-British) creation.
  29. Denial
    Sadly, it’s hamstrung by a patchy script (by David Hare) and an oddly flat-footed performance by Rachel Weisz as Lipstadt.
  30. Dahmer
    To explain a serial killer is to diminish his madness, but Dahmer does something quietly riveting. It lets you brush up against the humanity of a psycho, without making him any less psycho.
  31. Out of the Furnace
    It's Bale, and his almost biblical quest for justice, who burns his way into your soul.
  32. Pitch Perfect 2
    PP2 sometimes feels less like a movie than a two-hour episode of Glee ghostwritten by Amy Schumer; jokes fly like they’re being shot from T-shirt guns at a gonzo pep rally, and not all of them stick the landing.
  33. Honk for Jesus. Save Your Soul.
    Honk for Jesus shares a lot of Tammy Faye's small-screen feel and sense for winky episodic comedy; like that movie too, it's held together by the tensile strength of the petite, bedazzled female at its center. Awards-season gold probably won't strike twice in a row for pastor's wives, but Hall deserves some kind of prize for the soul she pours into this part.
  34. Downton Abbey: A New Era
    A New Era is strictly high-toned formula, from its God's-eye opening over spire-tipped turrets and green-velvet lawns to its soft-focus finish, but it feels like home.
  35. Pope Francis - A Man of His Word
    Whether he’s washing the feet of prisoners in America, visiting sick children in Africa, or praying with hurricane victims in Asia, Pope Francis doesn’t merely preach empathy, responsibility, and accountability, he lives it.
  36. Avengement
    Director Jesse V. Johnson sprinkles in enough cruel twists of fate and melancholy-laced flashbacks to prevent Avengement from becoming just another disposable exercise in action sadism on a budget. The real credit, though, goes to Adkins, who one of these days will hopefully get called up to the Hollywood big leagues and wind up surprising a lot of people — and grin while he’s doing it.
  37. The Game
    An intensely exciting puzzle-gimmick thriller, the kind of movie that lets you know from the start that it's slyly aware of its own absurdity.
  38. Piercing
    Clocking in at a lean and very mean 81 minutes, writer-director Nicolas Pesce’s follow-up to his grim 2016 black-and-white arthouse chiller "The Eyes of My Mother" is a sick-joke psychological cat-and-mouse game with just enough twists to keep you on your toes.
  39. Dear Frankie
    A Scottish weepie of such bathos and balderdash that it deserves a drinking game in its rotten honor.
  40. Little Jerusalem
    It would be hard to imagine a filmmaking style as serious yet lazy as the earnest vérité bobbing and weaving employed by La Petite Jérusalem.
  41. Atomic Blonde
    The pounding ’80s soundtrack (New Order, Depeche Mode, Ministry) couldn’t be cooler, the ultraviolence is relentlessly brutal, and Theron’s guns-and-garters wardrobe is sexy as hell. So it’s a shame that apart from the gender flip, the plot is so derivative.
  42. I'm Your Woman
    If wallpaper and polyester were any metric to judge a movie by, I'm Your Woman could have been a masterpiece.
  43. Vitus
    Vitus, a fizzy domestic fairy tale from Switzerland, gives you a lift, as it revels in the oddball joy of genius as kid power.
  44. Halftime
    Halftime is often hagiography, but a keen and sympathetic one too, designed to humanize a tabloid-headline life and remind us once again that where she comes from (the Block, the boogie-down Bronx) is as integral to her success as beauty or talent or sheer tenacity.
  45. How She Move
    Rutina Wesley glowers with just the right touch of sweetness as a brainy student (and stellar after-school stepper).
  46. Anna Karenina
    In making the radical artistic choice to tell the story as if it were being enacted by players on a stage, Wright falls passionately in love with his own fanciful artifices.
  47. Bad Influence
    The movie is consistently entertaining; it sucks you in. James Spader is a little too recessive, yet he lends the action a core of wormy anxiety.
    • 63 Metascore
    • 83 Critic Score
    The Sisterhood of the Traveling Pants 2
    Even cynics might concede that, again, four capable actresses have pulled off a relatively rare thing: They've convinced us they're an honest-to-God movie sisterhood.
  49. Chéri
    Pfeiffer transcends any hint of cliché ''cougar'' voraciousness.
  50. Friends with Benefits
    I'm not exactly sure this is a situation that a lot of people are going to identify with. More to the point, it gives the movie a faulty design. Dylan and Jamie sleep together and get along famously. Where's the dramatic motor?
  51. Sade
    Achieves the near-impossible: It turns the Marquis de Sade into a dullard.
  52. Burning Sands
    There isn’t much room for nuance in his script, and the movie’s darkness (literally: too many poorly lit nighttime scenes are more heard than seen) undermines its message. But there’s something powerful even in its predictability.
  53. Muriel's Wedding
    The trouble with the movie is that there's nothing to Muriel but her false dreams: We never quite glimpse the woman they're hiding.
  54. 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.
  55. Citizen Ruth
    Is it really possible to make a comedy about abortion? Alexander Payne, who cowrote and directed this mischievous bit of sociological screwball, has brought it off.
  56. 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.
  57. Gaga: Five Foot Two
    Five Foot Two is a strange work, slippery, out of focus.
    • 63 Metascore
    • 83 Critic Score
    The Manxman
    Hitchcock's final fully-silent film is one of his greatest early works.
    • 63 Metascore
    • 42 Critic Score
    Reel Paradise
    Pierson, with his carrot-thin frame, gogglish specs, and gnashingly quick temper, traipses around Taveuni like the king of the white-man geeks, alternately proclaiming the saintliness of his crusade and throwing tantrums whenever somebody else fails to sufficiently recognize it.
  60. The Eyes of My Mother
    The film has a stunningly hypnotic look thanks to Zach Kuperstein’s crisp black-and-white ­cinematography. It feels like a waking nightmare. It’s just enough to make you wonder how a film that’s so ugly managed to look so damn good.
  61. Les Miserables
    This steam-driven military weapon of an enterprise is a sobering reminder of just how tinny a musical Les Misérables was in the first place.
  62. Hot Tub Time Machine
    With sharp riffs on the intersection of '80s pop culture (ALF, Kid 'N Play, Ronald Reagan!) and 21st-century culture (Twitter, Viagra, Second Life!), this Time Machine is a fun dip into a pool of memories that are best forgotten again once the booze wears off.
    • 63 Metascore
    • 42 Critic Score
    Mr. & Mrs. Smith
    For a rom-com, it's neither funny nor particularly romantic despite the actors' best efforts.
  64. The Komediant
    Reflect the robust status of Yiddish theater in the early 20th century, and its post-Holocaust decline.
  65. Spy Game
    The film is brimming with plots, counterplots, dossiers, and sinister corrupt priorities, all held together by the telephoto obsidian gloss of Scott's look-ma-no-pauses style.
  66. Anchorman: The Legend of Ron Burgundy
    The movie is funny when it's nasty, as when Ron and Veronica trade insults at the anchor desk. Most of the time, though, it's not nasty enough.
  67. Two Brothers
    That Annaud and his deft production team create believable dramatic characters without compromising the dignity of the animals they've borrowed as stars -- is the striking (and sometimes unnerving) achievement of a film that also swoops and loops through fairytale hoops.
  68. Changeling
    The trouble with Changeling is that it plays less like reality than like a bare-bones, moralistic rehash of other, better movies, such as "L.A. Confidential" or "Frances."
  69. Knock at the Cabin
    Shyamalan may be saying something meaningful about faith or environmental destruction or the corrosive fraying of the social contract (could this vigilante crew really be motivated by pure homophobia, as Andrew believes?). But the message is mostly lost in sentiment, and a lingering sense of the better, messier movie that might have been.
  70. Zoo
    You could wander into this poetic documentary willing to be sympathetic toward its subject -- men who have sex with horses -- and still find Zoo cryptic and borderline bogus.
  71. Pee-wee's Big Holiday
    A lot of us have really missed Pee-wee, and seeing him go through his fun-house morning regimen at the outset of the film is a giddy treat. It’s like catching up with an old friend. But nostalgia gets you only so far.
  72. Rocky Balboa
    There is much to poke at in Rocky Balboa, yet the movie, with its amusingly updated ''Gonna Fly Now'' montage and its very niftily staged climactic bout, summons just enough incredulous wit about just how often Rocky has been around this particular block to let Sylvester Stallone earn his nostalgia.
  73. Pirates of the Caribbean: The Curse of the Black Pearl
    There may be nothing more fun for actors than experimental exaggeration, especially when filming on a Caribbean island. But there’s nothing that makes an audience feel less welcome than not being in on the joke.
  74. The Congress
    Ari Folman's meta-commentary on Hollywood in the soulless digital age starts off promisingly, like a Charlie Kaufman mind scrambler. But then it spirals into logy animated nonsense.
  75. Biggie and Tupac
    At best, a half-finished puzzle, but Broomfield leaves you with questions that few investigators have even dared to ask.
    • 63 Metascore
    • 67 Reviewed by
      Ty Burr
    Honeymoon in Vegas
    Way oversold in movie theaters, this pleasantly small shaggy-dog comedy seems more at home on the small screen — even if you do forget why it is you’re smiling by the time the tape finishes rewinding.
  77. Green Zone
    With Green Zone, though, the malaise has finally hit me. So while Damon's Miller uncovers the (inconvenient) truth of why the U.S. invaded Iraq in 2003, all I want to know is: How does he suggest we get out?
  78. The Assassination of Richard Nixon
    Director Niels Mueller's attempt to create a middle-class "Taxi Driver" (he tips his hand a bit smugly by respelling Byck's name to evoke Travis Bickle) has a creepy, meticulous exactitude.
  79. King of California
    It's as if the star (Douglas) finally gets to integrate all his onscreen personas, all at once.
  80. Damsel
    Far from a perfect film — the morals are clunky, the pacing awkward at points — Damsel still manages to achieve the rare distinction of being both ambitious and just so much goddam fun.
  81. Thomas in Love
    The movie, after a while, drifts into an all too literal parable of the limits of never leaving the house.
  82. Booye kafoor, atre yas
    Depression is a fair subject for a movie, but this much moroseness shouldn't come to this little.
  83. Harry Potter and the Chamber of Secrets
    And among the things this ''HP'' does very well indeed is deepen the darker, more frightening atmosphere for audiences of all ages already familiar with the intricacies of the ''Potter'' landscape. (This is as it should be: Harry's story is supposed to get darker.)
  84. Borg vs. McEnroe
    Of the film’s two stars, it’s LaBeouf who seems especially well cast here. Until now, the actor has never seemed to measure up to the potential that he promised early on in his career. But there’s something about playing McEnroe that brings out the sort of unpredictable subtlety he’s always been capable of.
  85. The 11th Hour
    This activist documentary -- alternately impassioned, despairing, edifying, and hectoring about all the ways humans are screwing up the earth in a death rattle of hubris -- shouts, People, do something! In contrast, "An Inconvenient Truth" feels positively hushed.
  86. William S. Burroughs: A Man Within
    A well-made but overly idolizing documentary.
  87. The River Wild
    Most of The River Wild moves at an annoyingly maladroit, stop-and-go tempo — it feels too much like a camping trip — and almost nothing that happens is very believable.
  88. Falling
    Barring any greater lessons on motivation or forgiveness, the movie becomes little more than an endurance test; one far easier — at least for the viewer — to fall away from than to stay.
  89. Miss Pettigrew Lives for a Day
    Adams, of course, is a peach. Her sparkle requires only minor character adjustment and twinkle recharging from her recent triumph as the old-fashioned modern heroine in "Enchanted."
  90. Undertow
    The truth is that Undertow is like a conventional Hollywood movie operating on half its cylinders.
  91. The Jungle Book
    The animals are dignified cuties and the humans are boisterous archetypes, and if you want the heart to have more darkness, you’re barking up the wrong vine.
  92. Single White Female
    A clever, by-the-numbers gothic thriller. Single White Female is entertaining claptrap.
  93. Spring Breakers
    Harmony Korine's first ''mainstream'' movie, Spring Breakers, is by far the best thing he's ever done.
  94. Fingernails
    There are interesting concepts at play in the ways Fingernails explores loneliness and desire. Notably, the test doesn't account for long-term compatibility but the more intangible presence of love. But the film doesn't go far enough in the ways it questions the science and accuracy of the test.
    • 63 Metascore
    • 83 Critic Score
    The Man with the Golden Arm
    Though director Otto Preminger’s decision to use an RKO set instead of Chicago locations initially jars, he makes it work, amping up the claustrophobic tension in beautifully choreographed long takes.
  96. Someone Great
    If shrewd one-liners and small moments ultimately override the episodic narrative, Someone‘s takeaway — that love is a messy-splendored thing, and “happily ever after” is just a story that hasn’t finished yet — feels refreshing modern and true.
  97. The Cat's Meow
    Peter Bogdanovich taps deep into the Hearst mystique, entertainingly reenacting a historic scandal.
  98. Everything Put Together
    The movie is ''Rosemary's Suburban Baby'' without a witch in sight.
  99. Happy Times
    Had O. Henry set his stories in China, he might have come up with Happy Times, a comedy for which the adjective ''bittersweet'' could have been invented.
  100. Open Water
    In spirit, Open Water reduces us to children peering through our fingers, waiting for the horrid deliverance we're not quite sure we want to see.
Page:

Top Trailers

See all »
See all trailers »