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. Trouble with the Curve
    Even those who don't know a foul tip from a chicken wing will be able to spot the desperate plays.
  2. Hard Candy
    Hard Candy is extreme - a battle of the sexes that glides from tricky to angry to shockingly ugly.
  3. The Object of Beauty
    A mild but charmingly off-kilter romantic comedy that gently satirizes love in an era of buy-now-pay-later brinkmanship.
  4. Defiance
    Zwick offers excitingly staged moments, but once you get past the novelty of WWII Jews acting this heroically macho, Defiance bogs down in a not very well-developed script.
  5. Under Siege
    In the brutally efficient Under Siege, Seagal, with his soft-spoken nihilist charm, attempts to move beyond limb-snapping exploitation and into epically scaled mainstream thrillers. He succeeds — but only because this sort of slick action bash doesn’t require a star with much personality. At this point, personality might only get in the way.
  6. Nerve
    This is a film about young people with a youthful energy and sense of fun that’s refreshing, especially in the summer of movies we’ve had so far. The tone and relatively low stakes allows Nerve to be shallow, divertive escapism—kind of like Snapchat.
  7. The Keeping Room
    A pretty average siege thriller. I’m positive there’s an audience for an Old West tale about fierce, independent women. I’m equally positive it can be done better.
  8. The Highwaymen
    The Highwaymen is a leisurely ride with a pair of actors who know how to do a lot by not doing too much. It won’t reinvent cinema the way that "Bonnie and Clyde" once did. But it’s a ride worth taking nonetheless.
  9. An American Pickle
    There are actors who can pull off dual roles, and now we know Seth Rogen isn’t one of them.
  10. Neighbors 2: Sorority Rising
    You’ll probably laugh hard more than once; Sorority Rising is still rich in bikinis and bong rips and boner jokes. It just doesn’t have much heart.
  11. The Bridge
    The Bridge crosses a disquieting line.
  12. Brown Sugar
    As a love-jones soap opera, Brown Sugar feeds right into Dre's nostalgic crankiness.
  13. Universal Soldier: Day of Reckoning
    Consider this a public service announcement: Folks who have a problem with onscreen flesh-hacking - or the fact that franchise stars Jean-Claude Van Damme and Dolph Lundgren aren't in the movie all that much - should stay home.
  14. The Rocketeer
    The Rocketeer is mostly an example of pop moviemaking at its most derivative.
  15. The Mule
    The Mule fits the 88-year-old Eastwood perfectly. Not just because there probably aren’t many roles for actors of his age out there, but also because its lack of judgment makes sense for a star who’s always been as willing to play anti-heroes as heroes.
  16. Shrek Forever After
    Everyone involved fulfills his or her job requirements adequately. But the magic is gone, and Shrek Forever After is no longer an ogre phenomenon to reckon with. Instead, it's a "Hot Swamp Time Machine."
  17. The Oath
    The film wrongfully substitutes abrupt violence for anything truly provocative, squandering the promise of its early scenes with a disjointed third act and pat ending that renders its satire toothless.
  18. Turbo
    While there's no denying that the film is a harmless, wholesome, and heart-warming ride crafted with polish and skill, it's also so predictable that you'll see every twist in the story driving down Fifth Avenue.
  19. TRON
    Jeff Bridges seems to be the only one having fun, playing a videogame designer who gets sucked into a Day-Glo world of his own creation. It’s like Alice in Wonderland acted out on a kids’ Lite-Brite toy.
  20. Beloved
    Winfrey's performance is full of stoic anger, and individual moments have ferocity and pull, yet you're always aware of them as moments.
  21. Sisters
    There’s really no not-terrible term for smart, silly female-bonding movies that are somehow considered subversive just for acing the Bechdel Test.... Sisters earns a spot in that pantheon, however it’s defined—even if it’s never quite as good as its leads.
    • 58 Metascore
    • 91 Critic Score
    Unleashed
    Bounding out of the gate like a greyhound, Unleashed needs only its first 30 seconds or so to elevate itself well above the average action potboiler.
  23. The Dictator
    What's shocking this time is how tame Sacha Baron Cohen's newest wild man is, for all the kerfuffle the comedian can stir up on the ­promotional trail.
  24. Quantum of Solace
    The point is, wherever he is, this James Bond is pissed. And that ceaseless anger begins to curdle every sequence that might otherwise bring a little happiness. I mean happiness for us, the viewers.
  25. Roman J. Israel, Esq.
    Roman J. Israel, Esq. doesn’t quite have the same frayed-wire electricity as "Nightcrawler," but what it does have on its side is Denzel Washington.
  26. Gainsbourg: A Heroic Life
    At once overly episodic and playfully arty, like a TV movie made by Fellini.
  27. Rise of the Guardians
    It's all more lightweight-likable than exciting.
    • 58 Metascore
    • 75 Reviewed by
      Ty Burr
    Freaked
    That’s already more laughs than a month of Saturday Night Lives.
  29. The Midnight Sky
    There are several arresting visual set pieces . . . And there's the more ordinary pleasure, too, of seeing this many good actors, snug and earnest in their jumpsuits, go to work. But the film often feels less like its own distinct narrative than a sort of greatest-hits amalgam of movies like The Martian, Gravity, Interstellar, Ad Astra, and all the others that came before.
  30. Snakes on a Plane
    More potent than anything in Snakes on a Plane is the fantasy offscreen: that if enough people talk up their desire to see this film and, at the same time, take an overt delight in what an unabashed piece of junk it is, they will fuse with the hype, with the movie's mystique. They will not just watch Snakes on a Plane; they will own it.
  31. Ferdinand
    Unfortunately, Ferdinand buries the original story’s message under frenetic action scenes and grating sidekicks, turning a classic tale into just another flat animated comedy.
  32. Easy Virtue
    The picture itself is only mechanically breezy.
  33. K-19: The Widowmaker
    What's really needed is a story with some sizzle, but Bigelow, in K-19, can't seem to decide whether she's making a shoot-the-works underwater rouser, like ''U-571'' or ''Crimson Tide,'' or a lofty historical message movie that hits us with the breaking news that the arms race was, in every sense, a poisonous game.
  34. The Hunt for Red October
    Colorful and exciting, yet unless you're a young moviegoer, nothing in it takes you by complete surprise. (It's less a nail-biter than a chin-stroker.)
  35. The Grey Zone
    No dramatic feature has ever come quite this close to the matter-of-fact ugliness of the Nazi crimes.
  36. Solomon & Gaenor
    A "Romeo and Juliet" tragedy of surprising power.
  37. Dean
    As a result, the movie comes across like a bunch of “bits” when it really should be getting at deeper emotions and truths. Then again, Woody Allen, another comedian-turned-writer/director, ran into that same problem back at the beginning of his career. And he ended up doing okay.
  38. Fuck
    Examination of one of the English language's most useful utterances and why the sound packs such a friggin' wallop.
  39. Creative Control
    Creative Control is a much more modest film (both visually and thematically) than something like Her or Ex Machina, but it never feels hamstrung by its limitations. If you go with its future-shock flow, it will cast a spell that feels like something between a dream and a nightmare.
  40. Jojo Rabbit
    Waititi ... finds such strange, sweet humor in his storytelling that the movie somehow maintains its ballast, even when the tone inevitably (and it feels, necessarily) shifts.
    • 58 Metascore
    • 67 Critic Score
    The Express
    Has Dennis Quaid really never played a college football coach before? With his handsome, craggy face and likable intensity, he was born for the job, and he's the main attraction in The Express.
  42. The Twilight Saga: Eclipse
    The story, at heart, is earnest and humorless teen romantic glop, but its feelings aren't fake, and the movie is compulsively watchable; it has a passionflower intensity.
  43. Die Hard: With a Vengeance
    In Die Hard With a Vengeance, McTiernan stages individual sequences with great finesse (there's a terrific bit with Willis and five thugs in an elevator), yet they don't add up to a taut, dread-ridden whole.
  44. Lights Out
    This movie purposely inspires viewers to think about serious topics, and then disregards the consequences of doing so, undermining the whole enterprise. The final physical sensation is not terror or relief, but disgust.
  45. The Man Who Killed Don Quixote
    With Adam Driver and Jonathan Pryce now in the roles once occupied by Johnny Depp and the late Jean Rochefort, Don Quixote turns out to be a pretty typical Gilliam film: whimsically daffy, frantically overstuffed, and art-directed to within in an inch of its life. It’s often transporting, but even more often exhausting.
  46. Splinter
    A nifty horror movie that doesn't claim to be anything other than a zippy exercise in creature-feature entertainment.
  47. (Untitled)
    The whole cast is museum quality, and the ''music'' performances are pitch-perfect in their dissonance.
  48. Jonah: A VeggieTales Movie
    Bouncy animation and catchy songs keep the film from tasting too much like spinach.
  49. The Safety of Objects
    The disciplined performances play against schmaltz, and the casting is inspired.
  50. Session 9
    A marvel of vérité nightmare atmosphere.
  51. Shanghai Knights
    This is an action-comedy sequel so indefatigably preposterous and farklemt -- as they say in certain Upper West Side saloons -- that it actually improves on the original.
  52. Gozu
    Not until the last 20 minutes does Gozu come fully alive. A man has sex with a seductive beauty, who then gives birth to...well, let's just say it's a sight that may take time to fight its way out of your head.
  53. Man on the Moon
    Jim Carrey's performance is an impersonation on the level of genius.
  54. Leaves of Grass
    The movie bubbles with intellectual curiosity and narrative ambition.
  55. Men in Black III
    MIB3 is one giant leap for mankind because Josh Brolin shows up to play the younger Agent K. And he just nails the feat, triumphantly creating a riff on/homage to the Tommy Lee Jones-ness of K that goes much deeper (and funnier) than a simple imitation of drawl and speech patterns.
  56. Big Fish
    The movie is a gently overstuffed cinematic piñata, crammed with tall tales -- with giants and circuses and fairy-tale woods, plus a huge squirmy catfish, all served up with a literal matter-of-fact fancy that is very pleasing.
  57. Snowden
    It somehow manages to make a fascinating, utterly contemporary narrative feel like old news.
  58. Lawless
    Hardy, speaking in low, flat, almost musically macho tones, has the bruiser charisma of a caveman Kevin Costner. It's not the money he's clinging to - it's the freedom.
  59. Love and Other Catastrophes
    A slight romantic comedy about five winsome Australian university students who fret and joke about their romantic woes when not talking about movies and cinematic theories. Each has a charming quirk — one (Frances O’Connor) is a cute lesbian, another (Alice Garner) is writing a thesis on Doris Day — but none is deeper than a bag of Reese’s Pieces.
  60. Brothers
    Brothers isn't badly acted, but as directed by the increasingly impersonal Jim Sheridan, it's lumbering and heavy-handed, a film that piles on overwrought dramatic twists until it begins to creak under the weight of its presumed significance.
  61. 20 Centimeters
    Here's yet another self-consciously ''Almodóvarian'' confection, studded with small odes to the glory of self-creation.
  62. A Hologram for the King
    If it sounds like Hologram is basically about a middle-aged white guy getting his groove back in the Middle East, well, yes, it is that. But if you squint hard enough, it’s also a little bit more.
  63. Happy Death Day
    Happy Death Day is directed with vim, vigor, and heart by Christopher Landon (Scouts Guide to the Zombie Apocalypse), and boasts a winning central performance from Rothe.
  64. The High Note
    The movie has its moments, some of them genuinely delightful. Still, there's a world where The High Note could have struck a stronger, deeper chord, and resonated.
    • 58 Metascore
    • 42 Critic Score
    Stepmom
    Older and younger movie star snipe and glare at each other with little subtlety, and little chemistry either. The two characters appear to be skirmishing only because they're supposed to by convention.
    • 58 Metascore
    • 50 Critic Score
    Thunderheart
    The movie boasts a number of shoot-outs and a car chase leading to the final showdown, but it’s more than just an updated cowboys-and-Indians picture, due in no small part to Apted’s grasp of the situation’s complexity.
  67. Eden
    Howard, working from a script by Noah Pink, has a lot of plates to keep spinning, including the story's wild swings between outrageous outbursts, sometimes played for laughs, and dog-eat-dog tension. Inevitably, with such an act, a few plates are bound to break.
  68. Prime
    Not one bit of the story tracks. But with these women in these roles, you're asking for truth?
  69. The Rock
    Sean Connery and Nicolas Cage inject tasty bits of personality into their roles.
  70. Jumanji: The Next Level
    Even if The Next Level doesn’t set a new high score, it still proves this franchise isn’t out of lives just yet.
  71. Mean Girls
    As it did in 2004, Mean Girls is a playground for a melange of fresh, new talent for whom we hope the limit does not exist. Did we really need another film version? No. But it’s pretty grool that the one we got is such fun.
    • 58 Metascore
    • 67 Critic Score
    Roving Mars
    The mission is an impressive coup for NASA - these scientists are smart! - but it doesn't quite slam-dunk as a fully satisfying IMAX experience.
  73. Tortilla Soup
    At times, the movie smacks of a standard-issue Hollywood chick flick, especially in the obligatory scene where the women bond by singing and dancing in a kitchen (to Doris Day's ''Perhaps, Perhaps, Perhaps'').
  74. The Legend of 1900
    It's usually a good idea to avoid anything billed as ''a fable,'' but The Legend of 1900 offers almost enough merits to warrant an exception
  75. I Am Chris Farley
    The film—skillfully helmed by Brent Hodge and Derik Murray and featuring talking-head testimonials from family members, friends, and costars such as Mike Myers and Bob Odenkirk—heralds "Tommy Boy" as definitive and notes how winning a romantic lead Farley is in "Coneheads".
  76. Ask the Dust
    The movie lacks even the misplaced fervor of obsession. It's lifeless kitsch.
  77. First Snow
    First Snow is essentially a short story with a metaphysical twist, but Pearce puts his fears more up front than any actor I can think of.
  78. Hope Gap
    If Bening’s genteel British accent sometimes feels a little wobbly, her character is by far the most vivid force in the film.
  79. The Hobbit: An Unexpected Journey
    I'm holding the filmmaker responsible for getting us all back again - to feelings of excitement and delight. Vital as they are, Gollum and Bilbo can only do so much to keep us enchanted. Is Jackson able to sustain the magic in two more installments? I peer into Tolkien's Misty Mountains and embrace the journey.
  80. Shrek the Third
    I love the princess squad.
  81. The Finest Hours
    An intermittently affecting, sanded-edge adventure that feels as if it trundled off the studio production line back when Eisenhower was in office.
    • 58 Metascore
    • 58 Critic Score
    The Three Faces of Eve
    What seemed steamy in 1957 — a reasonably frank look at mental disorder and repressed sexuality — is today the stuff of Oprah.
    • 58 Metascore
    • 67 Critic Score
    Aurora Borealis
    Lewis, in particular, is a charmer; it's a loss that she never became an A-lister. And Jackson is, as always, earnestness itself. The movie would be a quality guilty-gloopy pleasure if it weren't so deadly overlong.
  84. The Tree
    A symbol of the lost father, it looms, protects, and also wreaks havoc when a big branch collapses onto the house. Mostly, it's the expression of a movie that's content to stand still.
  85. The Seagull
    The Seagull is lush and dreamlike, leaving the drawing room for lake, field, and forest. Though we lose some of Chekhov’s claustrophobic talkiness, the dense poetry of his language, Mayer fully captures Chekhov’s sharp humor.
    • 58 Metascore
    • 67 Critic Score
    City of Ember
    The story, which follows two kids who try to save their burg from blackouts, isn't well-executed, losing itself to unclear mythology and sci-fi gibberish.
  87. The Night Before
    In its own druggy, dick-pic way, it’s also a pretty endearing tribute to male friendship — hammy and crude and more baked than a fruitcake, but with a sweetly squishy holiday heart at its center.
  88. Hotel Artemis
    Writer-director Drew Pearce must have done something right to get a cast like this to sign on for what is essentially a loving, highly stylized homage to the kind of camp apocalyptia John Carpenter used to make; the only thing missing here is an Ernest Borgnine cameo and Kurt Russell scowling in an eye patch.
  89. Undisputed
    Undisputed is a shrewd and splendidly volatile B movie structured around a highly original gambit of suspense.
  90. Kiss of the Dragon
    This is all grimy, guy on guy fun, right down to the fevered, bad English dialogue.
    • 58 Metascore
    • 50 Critic Score
    The Myth of Fingerprints
    The first-rate cast is wasted serving up this melodramatic turkey.
  92. American Pie
    A lively, disposable hybrid of the sincere and the synthetic.
  93. May
    Though ultimately too waterlogged with student-film self-seriousness to revel fully in its low-rent joie de cleaver -- nevertheless taps into a furious atavistic energy that reflects well on the filmmaker and his fully committed cast.
  94. Ocean's Twelve
    What's on screen is lazy, second-rate, phoned-in -- a heist in which it's the audience whose pockets have been picked.
  95. Star Wars: Episode VI - Return of the Jedi
    Best of all, a revisit with Jedi makes a viewer appreciate spectacle, presentation, mythology -- that, and the power of a bitchin' helmet to speak volumes in a language even an alien can understand. [Special Edition]
  96. Freakonomics
    As a movie, Freakonomics is like Jujubes for the brain - it starts to get cloying halfway through the box.
  97. Away We Go
    A gilded entry in the cinema du quirk. It's a movie that invites you, all too often, to feel superior to the people on screen.
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