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. Don't Come Knocking
    Shepard's charisma has always reached back to an earlier time, so it's easy to accept him as a kind of pre-counterculture hero - Eastwood without the sneer - who aged into the era of tabloid scandal.
  2. About Time
    Gleeson and McAdams make a touching, lifelike couple, but by the time the movie starts telling us to live each day as if we were going back and doing it all over again, you may feel Curtis has mistaken hokum for wisdom.
  3. Mr. & Mrs. Smith
    For all the nimbleness of its first half and the chemical zing of Pitt and Jolie, the film devolves into a fractious and explosive mess, hitting the same note of ''ironic'' violence over and over.
  4. Safe
    Safe has more action than intrigue (or logic), and it's boilerplate vicious. It may satisfy Statham's fans, but they - like he - would do well to enlarge their expectations.
  5. The Visit
    This is the first Shyamalan movie in a long time that viewers may be tempted to re-visit just to see how he pulls off his magic trick.
  6. Nim's Island
    It's hard to imagine kids not enjoying the good-hearted, lovingly shot fantasy of it all, and Breslin is charming, though most viewers past puberty will likely yearn to be voted off the Island.
  7. Megalopolis
    Megalopolis grants Coppola a dubious honor. In addition to his being the mastermind behind two of cinema's greatest achievements, he's also now the architect of one of its worst.
  8. The Hundred-Foot Journey
    I never entirely bought the flirty détente between the two or believed in the rapturous power of a perfectly cooked sea urchin to solve the world's problems. But for two hours, at least, I swallowed it with a smile.
  9. Aquaman
    Wan, a director who’s proven himself to be a can’t-miss ace regardless of genre (from the horror formulas of The Conjuring and Insidious to the big-budget tentpole mayhem of Furious 7) seems to finally be out of his depth. He’s conjured an intriguing world, but populated that world with dramatic cotton candy and silly characters, including a hero who’s unsure if he wants to make us laugh or feel — and winds up doing neither. Pass the Dramamine.
  10. Tenacious D in The Pick of Destiny
    Works just like a Tenacious D song. The movie feels giddy and eruptive, dopily enthralled with itself, and more or less made up on the spot.
  11. Violent Night
    A team of screenwriters more creative than Pat Casey and Josh Miller (best known for two manic Sonic the Hedgehog movies) might have done more with the backstory, and director Tommy Wirkola's beatdowns never transcend the merely serviceable. But there's no denying the joy in a child's eyes when she sees Santa's weapon of choice, a sledgehammer hefted with brutal artistry, and squeals its name: "Skullcrusher!"
  12. Love Actually
    It's a toasty, star-packed ensemble comedy in which a handful of lonelyhearts attempt, with some success, to come out of their shells, and it's going to make a lot of holiday romantics feel very, very good; watching it, I felt cozy and charmed myself.
  13. 3
    German filmmaker Tom Tykwer (Run Lola Run) noodles around with form, composition, and sexuality in 3, a playfully pieced-together, beautifully shot, and secretly ridiculous drama about a triangular relationship among blasé Berliners.
  14. The Gambler
    The one bit of good news is that the first Gambler is currently streaming on Netflix. Do yourself a favor and watch that one instead.
  15. The Flash
    Rather than the beginning of a cool, new idea, The Flash now feels like it should be the last word on movie multiverses.
  16. Great Expectations
    The film is proof that if you repackage the classics (in this case, Dickens) for the youth market in an era of MTV dislocation, what you get, in essence, is postmodern Cliffs Notes with an alt-rock soundtrack.
  17. The Acid House
    Three stories by the guy who wrote Trainspotting, banged and smashed into a film by Paul McGuigan with none of Trainspotting's charm and all its grotesquerie.
  18. Casa de los babys
    Marcia Gay Harden is an angry vulgarian who steals shampoo off the maids' carts and bribes a lawyer to get her baby. Sayles may not have planned it this way, but Harden makes crassness as powerful as any maternal instinct.
  19. Starsky & Hutch
    To turn fondly remembered TV trash into a movie that knows it's cruddy -- and that isn't, therefore, quite as cruddy as it might have been -- takes a perverse pinch of talent, if not style.
  20. Zombieland: Double Tap
    For all the flying intestines and skulls that split open like past-due melons, Double Tap has another squishy organ at its center: a big, goofball heart.
  21. Promised Land
    Urgent, heartfelt, and not-quite-as-predictable-as-you-think environmental rabble-rouser.
  22. Military Wives
    The timeliness of the film is particularly affecting when they all say goodbye to their loved ones, then cope with loneliness by compulsively online shopping and trying not to think about horrible possibilities over which they have no control. There are better movies than this one, sure. But this is its moment. Call it military punctuality.
  23. The Croods
    A handful of adrenalizing sequences of animated anarchy can't save this story from feeling overly primitive.
  24. I Heart Huckabees
    What in the Buddha's name is going on in I Heart Huckabees? Russell has come up with a grab bag of ideas that don't stick with you because they don't stick together.
  25. The House Bunny
    The movie flaunts its comedy roots like a messy bleach job.
  26. Rendition
    Rendition certainly makes the case that torture, whatever name it goes under, is indefensible, yet one can agree with that view entirely and still feel that the movie is just a borderline exploitation of what anyone who reads the papers already knows.
  27. Trolls
    Trolls doesn’t reach for the emotional resonance of DreamWorks’ more ambitious efforts; its lessons of loyalty and kindness are standard-issue, and tear ducts remain untapped. Still, the movie’s serotonin pumps like a fire hose. It’s almost impossible not to surrender to the bliss.
    • 55 Metascore
    • 67 Critic Score
    The Sandlot
    This rosy film is clearly not for the Peter Pan set: Even today’s younger viewers who aren’t eggheads may never have heard of a sandlot-much less the Sultan of Swat. The only thing they’ll revel in is replaying the slobbery-canine-confronting climax again and again.
  29. Perfect Sense
    Ewan McGregor and Eva Green are easy on the eyes as lovers in Perfect Sense, an intriguing apocalyptic romance with a multi-purpose title.
  30. Rob Roy
    A rousingly square romantic epic spiced with dashes of sex and bloodlust; it's "Robin Hood" meets "The Last of the Mohicans" meets "Death Wish".
  31. Ice Princess
    Peculiarly coy feminine-empowerment fable.
    • 55 Metascore
    • 75 Critic Score
    Pocket Money
    It’s just Paul and Lee hanging out, playing off each other beautifully, every exchange of dialogue a gloveless, effortless toss ‘n’ catch, sparkling under Laszlo Kovacs’ sun-kissed cinematography.
  33. Flatliners
    You may go into Flatliners hoping for a psychedelic mindblower, but the film is about as exciting as staring at a lava lamp for two hours.
  34. Bra Boys
    Partly a straightforward surf movie with impressive wave-catching footage. However, other sections track the legal troubles of Jai Abberton, a Bra Boy who was tried and acquitted of murder. This makes for an often fascinating but awkward mix.
  35. Hobo with a Shotgun
    There's a pomo twist to the whole overeager enterprise, in all its theoretical, film-school charm: Similar to 2010's "Machete," the movie was born from a fake 
 trailer commissioned by Grindhouse directors Quentin Tarantino and Robert Rodriguez.
  36. Love and Other Drugs
    An old-fashioned romance-and-sickness picture, a publicity-grabbing sex picture, an Apatow-lite horny-boys picture, and a liberal satire on pharmaceutical-industry excesses committed in pursuit of pill sales - all in one.
  37. London to Brighton
    Writer-director Paul Andrew Williams' unnecessarily hectic debut feature won several British film festival awards, no doubt for its bounty of low-budget stylized violence and blood, as well as its thing for prostitutes and runaways.
    • 55 Metascore
    • 42 Critic Score
    Playing by Heart
    With relationship patter that sounds like acting-class exercises, almost none of these stories feel true.
  39. Take the Lead
    Antonio Banderas is a charming and talented man, but in Take the Lead he lays on the old-world panache so thick - the accent, the flowery courtliness, the romance of romance - that he comes off like Dracula's metrosexual cousin.
  40. Party Girl
    The film knows how absurd this is, yet its triumph is that, by the end, we're actually rooting for Mary to see the library as her salvation.
  41. When You're Strange
    When You're Strange, a documentary history of the Doors directed by Tom DiCillo, is for people like me who can stumble onto the scrappiest Doors video on VH1 at 3 a.m. and sit there, mesmerized.
  42. Rocky V
    This sweetly downtrodden, punch-drunk Rocky is often appealing to watch. Yet as a character, he doesn’t have much drive — and neither, I’m afraid, does the movie.
  43. Bride & Prejudice
    Under the direction of "Bend It Like Beckham's" Gurinder Chadha, this festively busy and exuberantly multicultural charmer is its own intriguingly postmodern creation.
  44. Agnes Browne
    Modest and prosaic, with an unfortunate fairy-tale ending (yes, it features Tom Jones).
  45. Forsaken
    Donald spits hot fire and brimstone, but Kiefer remains as bland an avenging angel of action as ever.
    • 55 Metascore
    • 75 Critic Score
    The Current War: Director's Cut
    Cumberbatch’s talent for giving the impression that his brain’s moving a little faster than everyone else’s suits his new subject perfectly — if only the movie moved with the same thrilling momentum.
  47. Star Trek: Generations
    The pleasure of any Star Trek movie lies in experiencing the familiar mixed with the inventive.
  48. The Conspirator
    The movie is stiff-jointed and dull.
  49. The LEGO Ninjago Movie
    Credit is due to Jackie Chan, who gives his all to make Ninjago work.
  50. The Fundamentals of Caring
    Caring may be fundamental, but it never quite feels necessary.
  51. The Prom
    Some of the songs have charm. The cast is undeniably talented. But ultimately, the film has way too much in common with the egomaniacs at its center: It poses for an undeniably good cause, but its greater purpose is to collect the credit for having done it.
  52. The Lion King
    The story and the songs, with a few notable if hardly unexpected updates, are fondly faithful to the original; the magic mostly intact. Another reboot was never terribly necessary, maybe — but it’s good, still, to be King.
  53. The Secret Life of Pets 2
    As 86-minute kids’ movies go, The Secret Life of Pets 2 is shockingly padded. It’s the same old dogs with no new tricks.
  54. MirrorMask
    This dazzling reverie of a kids-and-adults movie, an unusual collaboration between lord-of-the-cult multimedia artist Dave McKean and king-of-the-comics Neil Gaiman (The Sandman), has something to astonish everyone.
  55. The Astronaut Farmer
    After teeny indies, this studio release retains the trademark love of warped American gothic that the Polishes share with David Lynch and the brothers Ethan and Joel Coen. But the unexpected streak of yearning sunniness -- the Spielbergian touch of boyhood dreams propelling a grown man -- gives The Astronaut Farmer a warmth that's new for them.
  56. Tusk
    Tusk lands close to Human Centipede territory in gross-out-ness — a warning, not a complaint — but it also has a genuinely haunting quality as Long's ties to humanity become ever more tenuous.
  57. Harry Brown
    Part punk-drab British art-house portrait of underclass despair, part bloody vigilante pic, Harry Brown is shakily held together by industrial-strength sound design and the expertly employed theatrics of Michael Caine in the title role.
  58. Screamers
    The film offers true insight into the patterns of war crimes, even if the songs sound disquietingly close to a call to violence.
  59. Invincible
    Half-baked Herzog, though it has twinkles of theatrical purity that remind you of when his vision was grand.
  60. All the Pretty Horses
    McCarthy's rawhide has become movie Naugahyde, a substance unknown in literature or in nature.
  61. Evelyn
    Stephen Rea, Aidan Quinn, and Alan Bates play Desmond's legal eagles, and when joined by Brosnan, the sight of this grandiloquent quartet lolling in pretty Irish settings is a pleasant enough thing, 'tis.
  62. Hearts in Atlantis
    Too poky and contrived to be a good movie, but its lushly serene atmospherics, given current events, make it a pure slice of sentimental comfort food.
    • 55 Metascore
    • 25 Critic Score
    Woman Thou Art Loosed
    Unfortunately, it's impossible to tell from this confused mess (costarring Jakes as himself) what that message is.
  64. Snatch.
    Guy Ritchie's second feature, is a faux tough caper modeled lock, stock, kit, and caboodle on his earlier film ''Lock, Stock and Two Smoking Barrels.''
  65. Godard Mon Amour
    Michel Hazanavicius’ new film, Godard Mon Amour, tackles that period in Godard’s life on and off the screen — and does it in a dismissively light-hearted way that I’m sure the auteur himself loathes.
  66. The Missing
    What's missing in The Missing -- despite throwing in The Everything, from magic trinkets to group hugs -- is soul.
    • 55 Metascore
    • 42 Critic Score
    Romance & Cigarettes
    With Walken around, hair up high, of course there are fleeting moments of fascinating weirdness, but even then, you're still moderately embarrassed for the cast.
  68. Liberal Arts
    Olsen, moody and apple-cheeked and intellectually avid, proves a true star: She turns being wiser than her years into an authentic generational state.
  69. The Last Samurai
    A handsome epic, a brave-hearted 19th-century man-saga from the director who made the period piece man-sagas ''Glory'' and ''Legends of the Fall.''
  70. Baby Mama
    Although the big picture itself gets mushy, the small moments, especially involving Fey, are sharp.
  71. Hostel
    It's obligatory for a horror film to feature exploitative sex as an appetizer, but Roth, even as he fulfills the sleaze imperative, does something shrewder: He mocks his heroes, presenting them as cold-eyed horndog jerks who fail to see that they've wandered into an entire country of exploitation.
    • 55 Metascore
    • 67 Critic Score
    5 Flights Up
    Freeman is funny as a lovable crank, but Keaton’s neurotic performance wears thin.
  73. Anesthesia
    The cast (which includes Glenn Close, Sam Waterston, Kristen Stewart, and Corey Stoll) is strong, but the movie itself is a little exhausting, like a New York cousin to Paul Haggis’ Crash, with a smaller budget and a bigger vocabulary.
  74. Song to Song
    In terms of content and meaningfulness, Terrence Malick’s Song to Song is the cinematic equivalent of a Trump press conference. Incoherent, disconnected, self-interrupting, obsessed with pointless minutiae and crammed full of odd, limp stabs at profundity from a closed-off man in his 70s who apparently has no ability to edit or accept constructive criticism.
  75. Noise
    As a follow-up to his striking 2002 directorial debut, "The Believer," this second obsessive study in fanaticism by writer-director Henry Bean has its own delirious integrity and outsider-art charm.
  76. The Eyes of Tammy Faye
    Comes drawn in bold, broad strokes — a fond treatment of a flawed but fascinating American icon whose revelations feel mostly cosmetic in the end.
  77. Bardo, False Chronicle of a Handful of Truths
    As an all-in-one viewing experience, Bardo is undeniably uneven, often maddening, and seems to have approximately 17 endings. Still, the movie is a marvel in its own way, dotted with pure cinephile delights and small unexpected pockets of profundity.
  78. Pride
    Pride doesn't have much surprise, but it's a formula picture of genuine feeling.
  79. Baby Boy
    What holds the movie together, however, is Gibson's broodingly responsive performance.
  80. Road Trip
    Slick, reasonably amusing, never asking its audience to swallow anything too wild for consumption.
  81. Tigerland
    An affecting, old fashioned, antiwar war story.
  82. Dodgeball: A True Underdog Story
    Hilariously fake and rude. And thus true and tonic, if you know what I mean.
  83. The Joneses
    This cautionary tale might be easier to swallow if all that stuff didn't look like it came from a Sky Mall catalog.
  84. The Adam Project
    For all its earnest sentiment and questionable science, though, Adam barrels along on movie stars and charm, from futures past and back again.
    • 55 Metascore
    • 91 Critic Score
    Home
    The combination of Home’s layered message, fun score, and clever comedy make it a colorful choice for moviegoers of any age.
  86. Idlewild
    Idlewild is a romp, a ticket to rowdy good times.
  87. Surviving Picasso
    Cool, assured, emotionally remote, Merchant Ivory's Surviving Picasso is never less than watchable, but it's also a cinematic paradox, a movie that works to capture Picasso from every angle yet somehow misses the fire in his belly.
  88. The 33
    An inspired fantasy sequence midway through hints at the more intriguing movie The 33 might have been; instead, its tragedy-to-triumph narrative aims mostly for width, not depth.
  89. The Great Gatsby
    It's a dazzling time capsule of a shimmering era and a devastating look into the dark side of the American dream. Too bad Luhrmann, the caffeinated conductor, doesn't trust that story enough. He'd rather blast your retinas into sugar-shock submission. Uncle, old sport! Uncle!
  90. Ping Pong Playa
    Even the championship showdown feels polite.
  91. Old School
    Under Reitman's deanship, Ferrell lets his freak flag fly and Vaughn unlooses a notably funny, light-on-his-feet lunkheadedness.
  92. City of Angels
    This is the sort of movie in which everyone on screen is swathed in gauzy benevolence. You practically have time to say a prayer in the dead spaces between lines.
  93. Diminished Capacity
    The result is fairly silly slapstick, but Alda, hair disheveled and brow knit with stubborn intent, is both fierce and quietly heartbreaking.
  94. Body Bags
    Gruesome stuff — and yet Body Bags moves along with such jaunty, good bad taste that it’s hard not to smile.
  95. The Men Who Stare at Goats
    A magical-realist sitcom war farce that ends up being about nothing but its own slovenly smugness.
  96. Higher Learning
    Higher Learning starts out as a liberal message movie, but it turns into a demagogic rabble-rouser, a shrewdly incendiary exploitation of these wayward days of rage.
  97. Passion
    Passion turns into vintage De Palma — which is to say, the film seems almost engineered to get you giggling at the extravagance of its absurdity. Any enthusiasm in the viewer is bound to be a shadow of the film's passion for itself.
  98. Dunston Checks In
    Director Ken Kwapis fills the movie with feeble references to Planet of the Apes and King Kong that don’t amuse adults and sail over the heads of tykes who snicker most at the raspberries Dunston blows at anyone he meets.
  99. Magic in the Moonlight
    While it's breezy and funny and perfectly pleasant, you probably won't remember this particular gift by the time the next birthday rolls around.
  100. Hulk
    A comic-book superhero has seldom squandered so much screen time being conflicted about his heritage and destiny -- and I don't mean conflicted in a sexy, Wolverine-y, ''X-Men'' way, either; a big-budget comic-book adaptation has rarely felt so humorless and intellectually defensive about its own pulpy roots.
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