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. 9
    Storyboarded with precision, and enhanced with a resonant score by Deborah Lurie, Acker’s handsome, feature-length 9 is, for all its visual flights of fancy, grounded in an apocalypse-proof message graspable by any schoolchild.
  2. Where Do We Go Now?
    The movie gets mired in these deceptive mechanics. It shows no curiosity about the hatred, so the characters seem less than whole.
  3. The Guys
    A small, heartfelt film.
  4. The Crime of Padre Amaro
    The real crime is the way that the movie turns Gael García Bernal, the hot-tempered, Roman-lipped costar of ''Y Tu Mamá También, into a backwater Freddie Prinze Jr.
  5. Overnight
    I do wish that Overnight caught in more precise detail what Duffy, who finally made his film on the cheap at an obscure studio, did to tick off the Miramax powers. Imagining it, though, is half the fun.
  6. Kill the Messenger
    Director Michael Cuesta (Homeland) includes just enough real news footage among the heavily scripted scenes to make you crave a documentary on Webb instead.
  7. Jeff Who Lives at Home
    With his large bod, soft features, and air of goofy sweetness, Jason Segel is a natural fit for Jeff, Who Lives at Home, a goofy, sweet comedy.
  8. Breathe In
    Buoyed by some nicely nuanced performances (especially by Pearce and Amy Ryan as his dream-dashing wife), Breathe In never quite rises above its predictable potboiler premise.
  9. Romy and Michele's High School Reunion
    This sloppy, pleasant comedy by playwright and TV producer Robin Schiff (Almost Perfect) is an amiable mess, a padded-out expansion of a play called "Ladies' Room."
  10. The Do-Deca-Pentathlon
    These movie guys specialize in snapping vignettes of human inconsistency - no fancy lighting required.
  11. Daybreak
    The snappish domestic infighting is effectively staged, yet beneath its ''raw'' atmosphere Daybreak traffics in pop-sociological clichés.
    • 60 Metascore
    • 75 Critic Score
    Meatballs
    More Murray-centric scenes were shot after a test screening showed that little without him worked.
  13. Juice
    The film is an inflammatory morality play shot through with rage and despair.
  14. The Perfection
    It delivers. The Perfection is a pure hit of twisted, absurd camp catnip.
  15. Trumbo
    How could a movie about a great screenwriter have such a terrible screenplay?
  16. The Importance of Being Earnest
    The antics are wacky -- but far from Wilde.
  17. Together
    To contextualize the story's lack of subtlety, it helps to see these casting choices as ongoing penance for the time when, as a boy, Chen denounced his own father to the Red Guard.
  18. Reconstruction
    Features a supernatural twist that is merely okay, but the film's mood of fractured anxiety and longing made me eager to see what the director, Christoffer Boe, does next.
  19. Signs & Wonders
    Jonathan Nossiter's second feature (after the intricate and haunting ''Sunday'') strikes unnerving chords of mystery and dismay as it fuses the sinister, jump cut dislocations of a metaphysical thriller like ''Don't Look Now'' with a pain soaked meditation on love, guilt, marriage, and adultery.
  20. The Clearing
    The Clearing is what's known in the biz as an alternative for adult moviegoers. Which is to say the film is a performance-driven drama devoid of special effects and loud noises. On the contrary, it's a meditation on midlife weaknesses and compensation.
  21. The Many Saints of Newark
    Saints can't be what Sopranos was — without the time or the ones who've been lost to tell it, fuggedaboutit. But for a hundred-something minutes, it feels close enough to coming home again.
  22. Mary Queen of Scots
    What keeps the film from feeling like period-piece amber, all whispered alliances and wiggery, is the keenly feminist sensibility of first-time director Josie Rourke (her background is largely in theater) and the fierce charisma and complicated humanity of its two leads, sovereigns till the end.
  23. Stealing Beauty
    Can Tyler act? Impossible to say. Bertolucci's neatest trick is to have constructed the movie around Tyler's gawky unself-consciousness.
  24. Allied
    There’s something decidedly old-fashioned about the new Brad Pitt-Marion Cotillard spy thriller, Allied. And that ends up being a good thing.
  25. Dredd
    Paul Leonard-Morgan's thumping techno soundtrack is thrilling. And Urban manages to give a credibly wry performance using little more than his gravelly, imitation-Eastwood voice - and his chin.
  26. The Adjustment Bureau
    An enjoyable piece of hokum – your basic doom-laden parable of metaphysical sci-fi mind control, only with a surprise romantic sparkle.
  27. Scream
    While the new movie is laced with Easter eggs and homages to the late master, it doesn't build its sequences with the same meat-and-potatoes solidity as Craven did. Bettinelli-Olpin and Gillett don't have those chops yet.
  28. The White Countess
    I don't think it's too much of a stretch to say that this oasis of romance amid the turmoil of Shanghai represents the way that Merchant and Ivory, for 40 years, saw themselves: as a sanctuary of calming, life-size taste in a movie culture grown coarse. It was often far from perfect, but I'll miss that sanctuary.
  29. Lightyear
    Kids will love Lightyear. Adults will enjoy it. The only reason it falls short of what we've come to expect from Pixar is that they've set their own bar so damn high.
  30. Overlord
    A surprisingly well-made mash-up of old-fashion war movie tropes and proudly disgusting horror-flick shocks. It’s a ton of fun.
  31. Good Boys
    In the end, it’s their fundamental goodness — not all the wicked, winky “bad” — that’s easily the best thing about Boys.
  32. Notorious
    Notorious makes the death of Biggie Smalls look like a tragic mistake, instead of the outgrowth of a culture devoted to selling the fantasy of who's the biggest man.
  33. Motherless Brooklyn
    If it all sometimes feels trapped in the amber of his intentions, Brooklyn still casts a quiet sort of spell: a meticulously, lovingly made mood piece, full of empathy for the ones who can’t speak — at least not always the way they want to — for themselves.
  34. The Whale
    Here it often feels clumsy and maddeningly inconsistent, stranding Fraser in a melodrama undeserving of his lovely, unshowy performance. Whatever he wins for The Whale — and early prizes have already come — he deserves. The rest is just chum.
  35. Warm Bodies
    At this point in the actor's career, it is pretty well impossible to tell when Malkovich is camping it up, or just being John Malkovich. Under the end-of-civilization circumstances of Warm Bodies, he's just the right guy for the job.
  36. Keeping the Faith
    Commits sins of romantic comedy as well as sins of spiritual tragedy.
  37. With All Deliberate Speed
    Sober and honorable, yet it's far from searching.
  38. Sierra Burgess Is a Loser
    Even if you’ve seen it all before, Sierra Burgess will still satisfy your end-of-summer sweet tooth.
  39. The Wedding Singer
    As a romantic comedy, the picture is pleasant, predictable, and utterly weightless.
  40. A Perfect Day
    Del Toro’s low-key resignation gives the film what power it has, but the female characters (played by Mélanie Thierry and Olga Kurylenko) are disappointingly thin.
  41. State of Grace
    The movie has been shot with a pleasingly overripe visual flair, and on its own terms it’s fairly entertaining. Yet it isn’t about anything so much as its own explosiveness.
  42. Christopher Robin
    Forster (Finding Neverland, World War Z) never quite finds the alchemy in Milne’s timeless tales, or the melancholy sweetness of his being-and-nothingness koans. Instead it’s just an earnest tribute, tastefully faithful to the source — and flatter, somehow, than the story ever was on the page.
  43. Total Recall
    Starts out as mind-bending futuristic satire and then turns relentless -- it becomes a violent, postpunk version of an Indiana Jones cliff-hanger.
  44. The Concert
    The crowd-pleasing comic Euro-drama The Concert is, at its musical center, as full of ripe emotion as Tchaikovsky's Violin Concerto in D Major. It's also as darkly funny as a Slavic farce, a composition of sweet cacophony.
  45. Wonder Woman 1984
    It takes some time to get to the major action set pieces (other than the prologue, which is gorgeous), but it’s too much of a pleasure to live in this well-realized place, populated by a quartet of capable and charismatic stars, to really care.
  46. Battle in Heaven
    A notorious opinion divider last year at Cannes, Battle in Heaven is less about heaven or battle, or hell on earth, or the soul of Mexico, and all too much about gawking. And so, for all the ''shock'' of the movie's clinical carnality, this battle is lost.
  47. The Heat
    With Bullock doing a variation on her Miss Congeniality geek-tomboy-who-has-to-bloom character, and McCarthy letting her acidly oddball observations rip, the two actresses make their interplay bubble.
  48. Bad Times at the El Royale
    It’s British stage actress Erivo who feels like the real star. Her steely charisma and gorgeous powerhouse of a voice (Goddard takes every plausible opportunity to let her loose on a classic 1960s songbook; can you blame him?) is what gives the movie not just a different kind of heroine, but a heart.
  49. To Wong Foo Thanks for Everything, Julie Newmar
    If there’s any shock value left to seeing a couple of matinee idols dressed up in women’s clothing, the drag-queen comedy To Wong Foo, Thanks For Everything, Julie Newmar gets it out of the way fast.
  50. Red Doors
    Writer-director Georgia Lee never leaves any doubt that the bonds of ethnic family devotion are a charm against any woe more serious than an engagement to the wrong white guy.
  51. 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.
  52. In Her Shoes
    Could it be that the director of "L.A. Confidential," "Wonder Boys," and "8 Mile" has been defeated by characters on a first-name basis with brisket, by women who, in Susannah Grant's screenplay, represent avatars of joyless workaholism and joyless sexaholism?
  53. The Visit
    This very earnestly American prison gives off an unusually mellow European air.
  54. All I Wanna Do
    A knock-kneed but likable just-for-girls drama set in 1963 that promotes single-sex institutions as the best breeding ground for future female senators and filmmakers.
  55. Illuminata
    The production feels self-congratulatory and illuminated only dimly.
  56. The Governess
    Writer-director Sandra Goldbacher, a former BBC documentarian, fills the film with arid pauses, creating a claustrophobic study in ''repression.''
  57. Point Break
    Director Kathryn Bigelow is one of the new-style action wizards who’ve never quite mastered the nuts and bolts of telling a story.
  58. Days of Thunder
    The film, though sleek and easy to sit through, replaces genuine dramatic involvement with a superficial, rock & roll empathy-it's as though we were watching Cruise's character and playing air guitar to his emotions. There are plenty of soulless movies around. What's special about Days of Thunder is that it works overtime trying to convince you it's not one of them.
    • 60 Metascore
    • 67 Critic Score
    What Would Jesus Buy?
    The movie has a sharp point -- Americans shop too much -- but it's a problem that its bellowing hero, always accompanied by his red-robed Church of Stop Shopping Gospel Choir, is so off-putting; a crazy guy who wouldn't sound so crazy if he just didn't act so crazy.
  60. Tumbledown
    Tumbledown is a sweetly poignant look at what it means to move on.
  61. Three Thousand Years of Longing
    It's a gentler, sadder movie than the dizzying trailer suggests, and less driven by plot than a stickler for storytelling like Alithea might prefer: a loopy little jewel-box reverie, slipped between two Furies.
  62. Protocols of Zion
    The filmmaker keeps himself squarely on screen. This is fine when he engages in throwdowns with the bigots but distasteful when Levin shows himself reacting to footage -- unseen by viewers -- of the beheading of reporter Daniel Pearl.
  63. Dark Night
    It’s also a haunting, thought-provoking piece of work, made infinitely more powerful by all the things it chooses not to show.
  64. Mandela: Long Walk to Freedom
    All of the highlights are dutifully hit, as in a made-for-TV movie (albeit a lavish, gorgeously photographed one). Unfortunately, they're hit with a sledgehammer.
  65. RED
    Unfortunately, while RED's stars may have gotten better with age, its many clichés have not.
  66. Goosebumps
    It’s a never-boring trip to a world, where stories and imagination are powerful tools, that just might inspire kids to do the scariest thing of all: pick up a book
  67. Rules Don't Apply
    It turns out that Rules Don’t Apply is hardly about Hughes at all. Instead, it’s a small-scale, lovingly filmed study of the blossoming romance between two fictional show-business newbies.
  68. Interview with the Assassin
    The film's best trick is the way that it treats conspiracy as a kind of political ''Blair Witch,'' a monstrous murk that haunts us precisely because it can never be seen.
  69. Spartan
    Just cryptic enough to keep you guessing, and for some viewers that may qualify as a night out. But Mamet's gamesmanship was more fun when it was less eager to look important.
  70. Gangster No. 1
    A canny, derivative, wildly gruesome portrait of a London sociopath who's the scariest of sadists, in part because he's also a very courtly one.
  71. Cellular
    Chris Evans is blithely likable despite a few faux-Cruise mannerisms, Basinger makes a vividly frightened yet resourceful woman in peril, and William H. Macy scores as a mild L.A. cop who lets out his inner macho.
  72. Never Been Kissed
    Labored miscalculation of a teen-trend comedy.
  73. Brassed Off
    There's a double meaning in the title of this folksy, relentlessly political, heavy-handed story, written and directed by Mark Herman and set among the coal mines of Yorkshire, England, in 1992.
  74. Analyze This
    Crystal turns in his best (read: least sappy) performance in ages, getting through an entire movie -- most of it, anyway -- without mugging.
  75. Kumaré
    Gandhi tries to dodge criticism of his mocking scam by rationalizing that even a phony wise man can offer real solace.
  76. They Came Together
    Most of the jokes land bluntly – ”This is a cliché!” – but tight pacing and a killer cast, which also includes Ed Helms and Christopher Meloni, make up for the inconsistent gags.
  77. To the Stars
    To the Stars seems downcast, at first glance, but it serves as a gentle, lovely reminder that one true friendship, even forged amid adversity, can be enough to keep you looking skyward.
  78. Isn't It Romantic
    Isn’t It Romantic pulls off a sweet sleight-of-hand trick as a rom-com-within-a-rom-com, mocking all of the classic rom-com tropes while still letting us indulge in them. The movie is having its gourmet cupcake and eating it too.
  79. Red Dragon
    A thriller made from a completist's checklist rather than with a cultist's passion.
  80. The Beaver
    This is high-quality work from a professional (Gibson) who, news reports have suggested, has recently sunk to terrible lows in his nonprofessional life.
  81. Manic
    There's something already exhausted, however, in the intrusively gauzy, wobbly, blurry, zoomy digital-video look of the piece.
  82. Calendar Girls
    While each Yorkshire playmate-of-the-month warmly assesses her own undewy flesh, the movie gives off a happy vibe of appreciation -- for the dignity of the real Rylstone lot, the actresses who play them so lovingly, and the simple, flower-bed borders of the story.
  83. The Iceman
    Ultimately, this is a grim (both visually and thematically) character study of an unsympathetic character, leaving Shannon, who manages to deliver another impressive performance, twisting in the ice-cold wind.
  84. The Aeronauts
    Jones reportedly did nearly all the stunts herself in a real balloon, and she makes the stakes feel fretfully real despite the dreamy, almost painterly quality of George Steel’s cinematography. By the time the story comes back to earth, though, that urgency is largely gone with the wind, and the film returns to what it was: a whimsical, oddly airless curiosity.
  85. All Day and a Night
    A nervy, deeply felt drama that gets a little lost on its winding path to redemption but still finds a way home.
  86. The Godfather: Part III
    In this brilliantly sustained climax, Coppola unveils a vision of corruption that embraces the entire world, but he's also reveling in sheer theatrical magic in a way that only a master can.
  87. Trust
    David Schwimmer directs this smarmy Hot Topic drama with empathy for the craft of acting but less interest in the craft of making a movie move.
  88. Under the Silver Lake
    No matter how shaggy and self-indulgent it is, or how anticlimactic its big so-what of an ending ends up being, I was never bored. More than that, I kind of dug its sheer swing-for-the-fences insanity.
  89. Finally Dawn
    Costanzo wants to tell a story set in the past, but he doesn't spend enough time fine-tuning the particulars that make period pieces feel vital rather than stagey. Additionally, at 140 minutes, the film is self-indulgent in length.
  90. What About Bob?
    What About Bob? is just funny enough to make you wish it had been wilder and less predictable.
  91. Fast & Furious Presents: Hobbs & Shaw
    Director David Leitch (Atomic Blonde, Deadpool 2) seems to know how to set up his outrageous set pieces, then get out of the way often enough to let his stars do what they need to do: Joke, chokehold, kiss, and smash until the helicopters come home.
  92. Madagascar 3: Europe's Most Wanted
    The story in Madagascar 3 is functional, but the antically civilized spirit is infectious.
  93. My Blind Brother
    Its tired indie trappings (arrested development, dull cynicism) turn the film into its own kind of marathon.
    • 60 Metascore
    • 75 Reviewed by
      Ty Burr
    Wayne's World 2
    It also made me laugh harder than anything I’ve seen at the movies this year.
  95. Go for Zucker
    Funny, director and co-writer Dani Levy suggests with no little coldness, how the scent of money can do what religion, ideology, and ethical principles cannot.
  96. A/k/a Tommy Chong
    Chong does his time (nine months) and has the last laugh, emerging as a born-again activist-survivor of the culture wars.
  97. Gifted
    In the end, what should be a three-hankie, ugly-cry tearjerker feels unnuanced, overplotted, and mechanical. Frank and Mary deserved better.
  98. Lone Survivor
    Berg has made a powerful film and an important reminder of what really happens when we send men and women off to war. It's just too bad that subtlety isn't a stronger weapon in his arsenal.
  99. Smallfoot
    Smallfoot has its own silly, beastie charm.
  100. Bandits
    A comedy that might have made Butch and Sundance jump off a cliff.
Page:

Top Trailers

See all »
See all trailers »