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. Across the Universe
    Goofy, pompous, annoyingly boomer-myopic Fab Four musical.
  2. Harsh Times
    Bale is mesmerizing and Rodriguez keeps up with him as the whole unsafe contraption zooms.
  3. Jackass 3-D
    More than ever, Johnny Knoxville and his boys belong to a very elite club of idiocy. They martyr themselves for our diversion, driven at every moment to ask: Are you not entertained?
  4. A Knight's Tale
    Laddish, one joke, genre scrambling rock & roll fairy tale.
  5. Human Nature
    The movie is too cute to take itself too seriously, but it still feels like it was made by some very stoned college students.
  6. How Stella Got Her Groove Back
    Bassett's natural dramatic fierceness, so powerful when incited to action, is at odds with the knee-weakening sexual surrender required by the story.
  7. A Dirty Shame
    A Dirty Shame isn't dirty fun. It's the perv "Footloose."
  8. The Two Jakes
    The Two Jakes is competent and watchable.
  9. Falling Down
    Demagogic shallowness has its appeal, and Falling Down could turn out to be the Network of the '90s. By the end, you may wish he'd just gone home and popped a couple of Excedrin instead.
  10. Nonnas
    Formulaic, dare-I-say-sappy movies, when done right, can be really good, and Nonnas is one such example.
  11. Waterworld
    Costner's surfer-bum affectlessness works here; he turns the Mariner into the world's most jaded lifeguard.
  12. Return to Paradise
    Return to Paradise is "Midnight Express" remade from the outside, as existential quandary. It has the moody, disquieting undertow of a true moral thriller.
  13. Posse
    Westerns, even offbeat ones, demand a lean clarity that Van Peebles, at this point, lacks the discipline to establish.
    • 56 Metascore
    • 58 Critic Score
    Transporter 2
    The greatest thing about the movie is Statham, a charismatic silent, deadly type who deserves to take the wheel behind a better franchise.
  15. Million Dollar Arm
    It's the latest male weepie cast from the same Disney mold as "The Rookie and "Miracle," and it's essentially "Jerry Maguire Goes to Mumbai."
  16. Mimic
    A stylish B horror movie about giant insects in the catacombs of Manhattan, it's by turns queasy, gross, terrifying, and -- never underestimate this one -- enthusiastically dumb. It's everything you want in a big-bug thriller.
  17. American Violet
    An artlessly powerful performance by newcomer Nicole Behaire anchors American Violet.
  18. God Bless America
    Bobcat Goldthwait's new movie is a burlesque that turns into a harangue that turns into a rampage.
  19. Tiger Eyes
    Best to forget the movie version exists and keep your happy childhood memories intact.
  20. Religulous
    He's a bombs-away provocateur, and in Religulous, Maher's blasphemous detonation of all things holy and scriptural, he doesn't really pretend to play fair. He's like Lenny Bruce with an inquiring mind and a video camera.
  21. Jumping the Broom
    You'll laugh - a lot - but you'll also shed tears of recognition at this funny, salty, strife-torn look at the agony and ecstasy of family.
  22. The Family Stone
    Parker has a great time being the anti–Carrie Bradshaw while Keaton-as-matriarch is a particular joy -- funny, beautiful, elegant, touching, and at ease with a familiar, get-out-your-hankies holiday subplot.
  23. The Glass Castle
    Too much of the plot is spun with vanilla, especially tacked-on scenes of Walls’ starched careerist life in New York City with her Banker Boyfriend (Max Greenfield), presumably to engineer more screen time for the lead actress.
  24. Genius
    The movie — dutifully shot in shades of old-timey sepia — does get better as its staginess falls away, but far too much drama stays on the page.
  25. The Crazies
    Here's what I can say for sure about the humanoid attackers in the new version of The Crazies: They're not very interesting.
  26. Ibiza
    More than anything, the film feels a bit like a trial balloon for the relative star power of Jacobs, who’s been promoted from best friend to headliner here.
  27. Adam
    It's hard to buy this relationship even for a moment. Adam is sweet, meticulous, and, at times, sort of clever, but it's also a not-quite-surprising-enough heartwarming trifle.
  28. The Unknown Woman
    Russian-born Xenia Rappoport gives it her tragic-heroine all as an abused Ukraine prostitute-turned-sneaky housemaid in Italy in The Unknown Woman.
  29. Cabin Fever
    A big, dumb, crude, noisy, goose-the-audience bash and proud of it. It's not nearly as unsettling as ''28 Days Later.''
  30. I'll Sleep When I'm Dead
    The film is held together by Clive Owen, who spends most of his time on screen hidden beneath matted hair and a scruffy beard but still has more aura than any actor around.
  31. Radioactive
    A film whose big ideas strain against the staid outlines of traditional screen storytelling — though budget alone can't be blamed for its odd jumps and tonal twists, from earnest biography to magical realism and back again.
    • 56 Metascore
    • 91 Critic Score
    How the West Was Won
    Despite wooden performances, the final feature filmed in true Cinerama is great fun and holds a wiiiiiide spot in cineasts’ hearts.
  33. Race
    Credit Race for showcasing its hero’s human flaws, but the movie unfortunately lets him get away with them a little too easily (his grand makeup gesture to Ruth comes off more creepy than romantic).
  34. On the Road
    What Salles doesn't conjure is the rapture of Kerouac's bohemian romanticism. Without it, On the Road is a remote experience, all reason and no rhyme.
  35. The Indian Runner
    Though the movie is sometimes too mannered (during one unaccountable stretch, Penn suddenly turns into Diane Arbus and peppers the screen with small-town grotesques), it has an accomplished rhythmic flow, a sense of people’s destinies unfolding step by step.
  36. The Details
    Tobey Maguire's characteristic placidity makes a fine mask for a man who is thoroughly awful.
  37. Nightbitch
    It is piercingly honest, remarkably sardonic, and breathtakingly brave in the way it lays bare some of women's deepest struggles and truths. But it is not a film that is anti-motherhood. It celebrates it as well, in all of its primal, animalistic, savage contradictions and complexities.
  38. Watchmen
    Even Watchmen fanatics may be doomed to a disappointment that results from trying to stay THIS faithful to a comic book.
  39. The Chorus
    The movie is rotten the way that only a denatured made-for-export slice of Gallic nostalgia can be.
  40. Deadpool & Wolverine
    The movie is two hours of cheap jokes, culminating in the world’s biggest Family Guy episode. It tries so hard to be clever, it just ends up being cringe.
  41. Mermaids
    In the end, there’s something a little insulting about a contemporary movie that reduces women to either trashy bimbos or repressed virgins.
  42. Lords of Dogtown
    Lords of Dogtown is a docudrama, rare in its grit and authenticity, that also strives for the mythical youth-rebel excitement of something like "8 Mile."
  43. Diary of a Wimpy Kid
    Does a great job of being in two places at once: In the head and gangly bodies of kids, and in the hearts of those of us who have survived grades 6-8.
  44. Focus
    What keeps the film humming along as smoothly as it does is the chemistry and charisma of its leads.
    • 56 Metascore
    • 83 Reviewed by
      Ty Burr
    Blue in the Face
    The improvisations are a mixed bag -- Reed and Fox are surprisingly hilarious, while Roseanne is a shrieking horror show -- but the air of gentle play and a wistful sense that Brooklyn is some kind of lost Eden put this one up on the more structured "Smoke."
  46. Coco Chanel & Igor Stravinsky
    The movie, by Dutch director Jan Kounen, is all surfaces, set pieces, Significant Looks, and voguing -- the same strictures Chanel and Stravinsky sought to bust.
    • 56 Metascore
    • 75 Critic Score
    How to Eat Fried Worms
    Happily, after a cartoon opening-credits sequence that overdoes it on the barf, Worms goes light (but not too light) on the gore and the goo.
  48. Leatherheads
    Reproducing a period-piece screwball comedy for a modern audience turns out to be one playful, self-deprecating wink too many for the star, who also directed Leatherheads.
  49. Paper Towns
    The real joy of Paper Towns is the interplay among Wolff, Abrams, Smith, and eventually Halston Sage and Jaz Sinclair as Margo’s best friend and Radar’s girlfriend.
  50. The Five Senses
    Our senses may be the stuff of drama, but not when they're treated as nice and neat as this.
  51. The Big Kahuna
    That The Big Kahuna is hardly more than a sketch or curtain-raiser is not the fault of the play in itself -- it's short-film size, not feature-worthy.
  52. Cruel Intentions
    Never shocks or even offends by ascribing fully adult cruelties and erotic activities to obnoxious kids; such harshness wouldn't flatter a cast this moussed and magazine-layout-ready.
  53. Once Upon a Time in Mexico
    In its wildly overwrought, burrito-Western way, is about as close to a home movie as you're likely to see in a megaplex.
  54. The Fate of the Furious
    The movie Tokyo-drifts into tedium in its more chaotic, casually gruesome chase scenes, and the “serious” dialogue is so consistently clunky it feels like it’s been carved from woodblocks with a dull butterknife. Thankfully, it’s frequently also much funnier and lighter on its feet than previous outings, and a lot of that credit goes to Statham and Johnson.
  55. Girls Just Want to Have Fun
    No Footloose. But its synthy soundtrack, heated dance-offs, and Day-Glo leg warmers are guilty-pleasure pay dirt. A mouthy 14-year-old Shannen Doherty doesn’t hurt either.
  56. Quick Change
    Quick Change starts out fast and loose — it gets the audience primed for a ripsnorting caper comedy. Yet almost nothing that follows is as clever, as surprising, or as casually anarchic as that nifty opening sequence. Murray himself served as codirector, and though he doesn't do anything terribly wrong, the movie lacks comic zest.
  57. Non-Stop
    Once again Neeson is a straight-faced secret weapon. With his lion's roar and can-do fists, he grounds the film's more preposterous moments and makes them feel excitingly tense. At a certain point either you'll fasten your seat belt and go with Non-Stop's absurd, Looney Tunes logic or you won't.
  58. Extreme Measures
    Apted keeps the speechifying and dramatic poses away from Grant (poor Hackman’s the one forced to say, ”If you could cure cancer by killing one person, wouldn’t that be the brave thing to do?”). And he gives the star room to do clean work without the fussiness that marred Nine Months.
  59. Coastlines
    It's a heartfelt movie that could have used a zigzaggier undercurrent, though Olyphant, in the sort of role that Paul Newman used to swagger through, has a star's easy command.
  60. Midnight in the Garden of Good and Evil
    By the time Midnight in the Garden of Good and Evil is over, it may send more than a few viewers scurrying off to the bookstore. They'll surely want to see what all the fuss was about.
  61. Storks
    There’s a delightfully madcap pace to Storks, and most of the rapid-fire jokes land.
  62. Valkyrie
    The mechanics of the actual plot are pretty amazing. Singer has assembled a top-notch international cast.
  63. Douchebag
    It's a minimalist "Sideways," not so much mumblecore as talkycore.
  64. Don't Be Afraid of the Dark
    Neither colorfully brutal nor especially fun. It's a plodding, derivative gothic potboiler: "The Shining" meets "Coraline," with a touch of "Gremlins" played (boringly) straight.
  65. Date Night
    For this 21st-century Nick and Nora Charles, the flame is kept alive despite his nighttime anti-snore nose strip and her nighttime bite guard -- thanks to a shared appreciation of the hilarity of nose strips and bite guards.
    • 56 Metascore
    • 42 Critic Score
    Driving Lessons
    Linney is too sensitive and capable an actress to play a stock villain like this. That everyone in the movie dislikes her makes you dislike everyone in the movie.
  67. The DUFF
    As misspent of an opportunity as The DUFF may be, it’s hard to completely dismiss a film that gives someone as talented as Whitman her long-overdue spotlight.
  68. French Exit
    There's more to admire than to love in Azazel Jacobs' arch drawing-room comedy, with its surreal styling and arch Wes Anderson-y tics — and something essential lost, maybe, in screenwriter Patrick deWitt's own adaptation of his acclaimed 2018 novel of the same name.
  69. Sylvia
    This is the richest role Paltrow has had since ''Shakespeare in Love,'' and she rises to the challenge. She digs deep into Plath's mercurial nature, giving us a Sylvia who's fiercely independent and alive yet burdened with demons of insecurity that bubble up in a rage.
  70. Anna and the King
    It's a painstakingly correct update of what is, let's face it, one of the least culturally correct love stories ever to be mythologized by Hollywood.
  71. Danny Deckchair
    It's a soothing stoner tableau, a fine dropout fantasy.
    • 56 Metascore
    • 67 Critic Score
    Sabrina
    The new Sabrina is both pokier and gauzier than the original.
  73. The Arrival
    The Arrival looks and feels awfully small and cheap. In that way, the movie does feel like those science-fiction classics of the ’50s. But back then, sweaty heroes didn’t utter lines of ’90s dialogue like ”I look like a can of smashed a–holes.”
  74. The Man from U.N.C.L.E.
    The early-’60s styles are chic, the Euro locales are swank, and the music cues (including a nod to Ennio Morricone’s Once Upon a Time in the West score) are fantastic. Too bad the plot and the lead performances are so lifeless.
  75. The Brave One
    Everything about Foster's ocular intensity is riveting, but little in this hushed vigilante drama makes sense.
  76. Wolf Creek
    Wolf Creek, an unusually crisp and boldly shot "Texas Chainsaw Massacre" knockoff, looks as ancient and patterned as a druidic ritual.
  77. 39 Pounds of Love
    In moments that have nothing to do with representing the weight of love (whatever that is), the film comes alive: when Ami Ankilewitz isn't a symbol - just a man who, for instance, loves a woman.
  78. Miss Julie
    Director Liv Ullmann's PBS-pretty adaptation of the 1888 August Strindberg play lacks brio but is compelling thanks to its three tough performers.
  79. Minions
    If Minions were a toy, you’d hide its batteries.
  80. Real Steel
    Real Steel is directed by "Night at the Museum's" Shawn Levy, who makes good use of his specialized skill in blending people and computer-made imaginary things into one lively, emotionally satisfying story.
  81. War Machine
    It’s a smart, sharp spitball of a film, but it would’ve been better with a smaller, subtler hammer.
  82. For No Good Reason
    The British illustrator’s process of creating his surreally deranged, truth-to-power cartoons is fascinating, but the rest of the film lacks the same mad spark.
  83. Unknown
    The movie whips up a big old puree of ingredients borrowed from other cinematic recipes.
  84. The Rum Diary
    To the audience, this stuff seems like awfully old news. We're supposed to be witnessing the birth of a great journalist, but Hunter S. Thompson, as his career went on, got swallowed up by his mystique as an outlaw of excess. In The Rum Diary, that myth becomes an excuse for a movie to go slumming.
  85. Ramona and Beezus
    On the other hand, this proud graduate of the School of Cleary Classics wishes that, like the young heroine herself, Ramona and Beezus dared more often to color outside the lines.
  86. Frank & Lola
    Shannon’s intensity is the best thing Frank & Lola has going for it. And it’s almost enough to make it work.
  87. Breaking and Entering
    However admirably Minghella urges a break from complacency and an entry into a state of local/global compassion, his characters are position holders rather than people.
  88. Bamboozled
    Nothing Lee has done is as flashy or as mucked up as Bamboozled.
  89. Hereafter
    The signature Eastwoodian music that the director lays over the proceedings - piano tinkle, guitar pluck, and an echo of Rachmaninoff out of Noël Coward's Brief Encounter - can't hold the assemblage together.
  90. Death Becomes Her
    The trouble with Death Becomes Her isn’t that its comic vision is too dark but that it has no shadings, no acerbic glee. Zemeckis gives nastiness such a hard sell he forgets to take any delight in it.
  91. The Minus Man
    With no climactic showdown and no comforting revelation of motive or reassuring psychoanalytic diagnosis, the nerve-rattling potential of this sly, paranoia-inducing story may sink in only later.
  92. CQ
    Coppola, who has made clever music videos, including the one for Moby's ''Honey,'' clearly had a lot of fun detailing the mod cheesiness of this intergalactic period piece, though the satire would have been more ticklish if ''Austin Powers'' hadn't gotten there first.
  93. Once Upon a Time in the Midlands
    There are instances when the filmmaker tries for Western iconography and settles for ''Full Monty'' ingratiation.
  94. Men of Honor
    Educational and upstanding, a little overacted and more than a little overdramatized. But it's honorable.
  95. Phone Booth
    It's an energetic stunt of a movie, and it wants to make us sweat like it's 1974.
  96. The Anniversary Party
    As a work of art, the movie, shot quickly on digital video, is genial enough if unrefined.
  97. The Ladykillers
    A lot of good actors have gone to work for the Coens and ended up looking like puppets, but Hanks is too clever for that. He knows that he's playing a concoction rather than a human being.
  98. Troy
    The result is a pageant long but not deep, noisy but not stirring, expensive but not sumptuous.
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