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. Draft Day
    Draft Day is "Moneyball" Lite. And if that sounds like a slight, it's not intended as one.
  2. Camp X-Ray
    The depiction of Guantánamo Bay as a banal, ugly hole of a place waiting to be condemned makes for a compelling first half hour in this military drama.
  3. Why Did I Get Married?
    Perry is of the spell-everything-in-capital-letters and act-it-out-loudly schools. Yet his sensitivity to women is a tonic.
  4. Blue Steel
    Blue Steel lacks sustained storytelling craftsmanship, and it never approaches the saturnine intensity of the film it sometimes recalls, Michael Mann’s Manhunter (the greatest thriller of the past decade). But it makes you eager to see what Bigelow could do with a good script.
  5. Music of the Heart
    A sentimental epic that forgets to include the sentiment
  6. Gerry
    The movie is on some level a stunt, but it has the fervent, sun-dazed pull of an authentic experience unfolding in real time, with glints of drama, comedy, and terror mixed into the almost-but-not-quite tedium.
    • 54 Metascore
    • 75 Critic Score
    Family Business
    Family Business is one of Lumet’s very worst movies, but the actors are stellar.
  8. Cocaine Bear
    It's all patently ridiculous, and even at 95 minutes, a stretch to call this loose cannonball of high camp and sticky-bright gore a movie.
  9. Luckiest Girl Alive
    Luckiest Girl is the kind of rainy-day thriller Netflix was made for: lurid, entertaining, patently silly. It's also kind of a mess, though at least some of that likely comes from condensing the busy, grisly events of a best-selling book into less than two hours of screen time.
  10. Observe and Report
    The superb character actor Celia Weston (In the Bedroom) is truly breathtaking as Ronnie's boozer mom.
  11. The Magnificent Seven
    This Seven’s just silly, solid entertainment: multiplex fun by numbers.
  12. Eddie Murphy: Raw
    Watching his deft, effortless character work chafe against the outermost boundaries of the stand-up format, you sense the transgressive energy of Richard Pryor filtered through leading-man charisma — albeit tinged with hostile paranoia.
  13. The Little Things
    In the absence of a clean ending, then, what's left is the familiar intrigue of smart men squinting dolefully at distant horizons and bloodied crime scenes, an ocean of bottled-up feeling, and a movie that takes a good half of its secrets to the grave.
  14. Bee Movie
    Agreeably skewed fun.
  15. Rock Star
    This movie is as packed with flashy bogusness as a lead singer's tight leather trousers. On the other hand, there's nothing bogus about the charisma and tough sweetness of Wahlberg.
  16. Mrs. Doubtfire
    Williams gives an inspired comic performance. Unfortunately, he outclasses the movie, which is basically a patchwork rip-off of Tootsie.
  17. Anon
    The story works well enough in its own moodily familiar way, but it’s not only the movie’s palette that’s stylishly leached of color: Its main characters’ backstories feel perfunctory, the dialogue leans heavy on exposition and hard-boiled cliché, and even Owen looks worn down.
    • 54 Metascore
    • 58 Critic Score
    Suddenly, Last Summer
    A deliciously bad film.
  19. Assault on Precinct 13
    Volatile yet fairly lunkheaded.
  20. The Signal
    If all this sounds like a souped-up episode of "The Twilight Zone" or "The X-Files," then you're in the right ballpark — or underground bunker.
  21. Because of Winn-Dixie
    To Winn-Dixie's great credit, both as a book and as a dandy, dignified movie, there's nothing condescendingly lesson-like in the wisdom India acquires.
  22. Vacancy
    Vacancy is a schlock surprise: a no-frills motel-hell slasher film -- with a bit of soul.
  23. Terminator: Dark Fate
    At least Dark Fate is frequently bad in a funny way, without the dutiful dullness of the last couple sequels.
  24. Black and Blue
    Harris, eyes blazing, brings a humanity and an urgency that serve the story maybe more than it deserves: a performance above and beyond the call of duty.
  25. Copycat
    The movie is, in short, a trash conundrum. What nearly redeems the movie is its acting.
  26. Explicit Ills
    Webber has a knack for bringing out actors at their showiest, but he palms off too much first-draft sketchiness as ''ambiguity.''
  27. Empire of Light
    Colman, her eyes darting between hope and devastation, is so lit-up and specific (and funny, a quality that doesn't seem to get mentioned enough) that she lifts nearly every scene.
  28. A Girl Like Her
    While mean girl Avery Keller (Hunter King) gets a nuanced and surprisingly redemptive arc, the target of her bullying, Jessica (Lexi Ainsworth), mostly goes ignored.
  29. Hotel Transylvania 3: Summer Vacation
    The harmless high jinks all go down easily enough without being particularly memorable or pushing the art form past the expected.
  30. The Notebook
    You know what you want to see if you want to see The Notebook...You want to see girls in pretty 1940s dresses, soldiers in stirring World War II uniforms, handsome automobiles and equally handsome Southern landscapes. You want to see romance overcome adversity.
  31. Jet Lag
    It's a pleasure to encounter a confectionary love story in which a man and woman of age and experience discover feelings that youth, more and more, has a patent on in Hollywood.
  32. People I Know
    As it is, the story collapses like a bad tip to Liz Smith. Still, there's something brash, retro, and even stupidly touching about all the chatty mania, and the way Baitz and Pacino get off on paranoia, conspiracy theories, and the lure of 1960s idealism.
  33. The Hunting of the President
    The film is a sobering chronicle of the depressing circus of persecution and pseudo-scandal that was the Clinton years. But why did the President provoke such ire? A movie with insight into that might actually feel new.
  34. Human Traffic
    The movie is too cute to lose its head in the music. It never generates its own ecstasy.
  35. The Fighting Temptations
    Makes shameless use of tried-and-true elements -- but it's hardly the same old song.
  36. A Time to Kill
    A slick, synthetic, self-important drama that thinks it is saying more than it is simply because of its subject matter.
  37. Paranormal Activity 2
    Even when nothing is happening, the often dead-silent shots tend to grow scarier the more you look at them.
  38. The Dead Don't Die
    It’s a film that lazily whistles past the graveyard as it brings that graveyard back to ravenous life.
  39. Shorts
    More like a summer-camp theater project than a studio movie.
  40. Sinister
    I knew perfectly well, after a while, what Sinister was going to scare me with. But I got scared anyway.
  41. The Tale of Despereaux
    Too bad the story's such a mess.
  42. Alice in Wonderland
    In the film's rather humdrum 3-D, the place doesn't dazzle — it droops.
  43. A Wrinkle in Time
    A Wrinkle in Time hits that unfortunate un-sweet spot common to big-budget science-fiction/fantasy, where the spectacle feels more summarized than experienced.
  44. The Big Year
    The more I sat through it, the more it won me over in its very benign high-concept way. It's like "City Slickers" remade for the Discovery Channel.
  45. Book Club
    In an industry that defines “mature audiences” as anyone old enough to vote, a movie centered entirely on women over 65 — a sex comedy, no less — feels like some kind of small Hollywood miracle.
  46. Blackbird
    The last 15 minutes are frankly devastating — catharsis, thy name is ugly-cry! — but it all feels a little manipulative and thinly told in the end; Nancy Meyers reset in the key of tragedy.
  47. Beowulf & Grendel
    A muscular, ardently naturalistic retelling of the ninth-century Anglo-Saxon saga.
  48. Alpha Dog
    Cassavetes throws in everything he can recycle to grab a core-demo viewer -- slutty teens making out, blaring rock music, guns, split screens.
  49. Mister Lonely
    None of the faux icons comes close to being a character. Instead, they are contrasted with a group of nuns who skydive without parachutes. Could this possibly be a metaphor for Korine's filmmaking? It certainly goes splat.
  50. When Brendan Met Trudy
    The movie luxuriates in cinema references while laughing at its own fetishes -- a neat talent.
  51. George of the Jungle
    Hits you on the head until you laugh.
  52. Save the Last Dance
    This wan, formulaic teen movie from ''Metro'' director Thomas Carter is afraid to pump up the volume on its own interracial, hip hop Romeo and Juliet story, lest it challenge even one sedated viewer or disturb the peace.
  53. Ella Enchanted
    The hoot and giggle of a girl-power fairy tale blended from potions of ''Monty Python,'' ''Queer Eye for the Straight Guy,'' and ''Shrek.''
  54. The Blind Side
    A feel-good movie that never stops feeling good. The film is based on a true story (it was adapted from a nonfiction best-seller by Michael Lewis), but you never feel that Hancock has honestly captured what's true about it.
  55. Soul Surfer
    Soul Surfer, while formulaic in design, is an authentic and heartfelt movie.
  56. Ava's Possessions
    Krause’s deadpan wit, coupled with the inspired scenes at Spirit Possessions Anoymous, make Ava’s Possessions a fun, fresh take on a genre staple.
  57. Mousehunt
    The charms of Evans (from 1995's oddball Funny Bones) and Lane (who's at his best playing to the balcony) are lost in all the detailed hubbub.
  58. Alita: Battle Angel
    This manga adaptation is a tired science-fiction odyssey, with bland digital effects piled onto a sappy non-story that feels like a two-hour elevator pitch for a 70-film franchise.
  59. The Book Thief
    It would make for a pretty ghastly pageant if not for smart, understated turns by Watson and Geoffrey Rush as the charmingly Teutonic couple who rescue both Liesel and a stranded Jew (Ben Schnezter) — not to mention the movie itself — with honorable matter-of-factness.
  60. Delicacy
    The two stars appear to be as bewildered by the turn of events as we are.
  61. In the Mouth of Madness
    Look for bloody axes, grotesquely disfigured zombies, and creepy visions — much of it bloatedly self-indulgent and a small part wicked funny about the influence of guys like Stephen King/Sutter Cane who write words read by people who don’t read anything else, or maybe don’t read at all but only go to movies like this one.
  62. Nancy Drew
    The culprit, I'd say, is the uninteresting casting of Miss Roberts in the title role. She's a pleasant enough performer, but her made-for-teen-TV acting style, a perky blandness, doesn't supply a clue as to the appeal of Nancy Drew after all these years.
  63. Aline
    Watch it sincerely or as a curiosity; at least you know you won't forget it.
  64. Beverly Hills Cop: Axel F
    While Beverly Hills Cop: Axel F isn’t terrible, and it does have a few funny zings plus one decent chase scene, there’s not a molecule of originality on display. One can’t help but call it a missed opportunity.
  65. The Siege
    It's a cautionary tale about the excesses of jingoist paranoia, and the folly of it all is that the more the film descends into somber liberal chest thumping, the less engrossing it becomes.
  66. Knight of Cups
    Essentially shapeless and paced like the tide rolling in, Knight of Cups should be reserved for hardcore Malick fans only, those who have the patience to metaphorically wade through the literal wading, which there happens to be a lot of in this movie.
  67. 30 Days of Night
    You can expect a lot of shredding and gurgling. 30 Days of Night is relentless, but it's also relentlessly one-note.
  68. Irrational Man
    Allen isn’t completely on autopilot here. There are a couple of sharp, sting-in-the-tail twists near the end, and Phoenix is at least interesting. But Irrational Man would be lesser Woody even if we hadn’t seen most of it before.
  69. Kika
    What's ultimately shocking about Kika is how empty mayhem can be made to look.
  70. BMX Bandits
    The film’s no great shakes; it’s a Down Under Goonies wannabe about three wisecracking kids shredding on their bikes as they’re chased by bungling bank robbers. But the baby-faced Kidman is easily the best thing in it.
  71. Sex and the City
    A movie that taps directly back into the show's primal appeal, which is the sweet, sad, saucy delight of sharing these women's company.
    • 53 Metascore
    • 58 Critic Score
    Goal! The Dream Begins
    The cast, all around, is sterling. There's only one thing they don't need to bring back for the sequels, and that's the movie's appetite for every sports cliché there ever was.
    • 53 Metascore
    • 50 Critic Score
    The Promise
    There's a nice Road Runner-cartoon moment when the slave runs really, really fast, carrying the wounded general on his back while dodging an attack of CG bulls. I can't imagine Road Runner was what Chen had in mind for the most expensive movie ever made in China, but then, I was born too late for the time of the snowy eagle.
  74. Star Wars: Episode IX - The Rise of Skywalker
    We need a new franchise designation for this stumbling, bloodless conglomeration of What Once Was. Rise of the Skywalker isn’t an ending, a sequel, a reboot, or a remix. It’s a zombie.
  75. The Handmaid's Tale
    The Handmaid’s Tale is watchable, but it’s also paranoid poppycock — just like the book.
  76. Looking for Comedy in the Muslim World
    The movie isn't racist; it's just lame. If Brooks truly cared about Muslims or how their funny bones worked, Looking for Comedy might have had some zing, but all his character is interested in is the 500-page report he has to deliver - a homework assignment from hell.
  77. Generation Wealth
    Eventually, it’s Wealth‘s inherent too-muchness that undoes its own best intentions.
  78. Quarantine
    Quarantine director John Erick Dowdle and co-writing brother Drew wisely stick close to the told-from-the-cameraman's point-of-view template of the terrific original, though they add a few fine flourishes.
  79. Being Flynn
    Is it possible for an actor to go through the motions even as he's going over the top? In Being Flynn, Robert De Niro does phoned-in scenery chewing.
  80. Lucky Number Slevin
    A thriller that holds less interest - and less water - the more it reveals about what's actually going on.
  81. Rounders
    Damon is a magical actor. His mind, as sharp and focused as a laser, beams out of the face of a vivacious choirboy, and, in nearly every scene, he invites you to share the jet-propelled pleasure of his precocious agility.
  82. Shooter
    The ultimate crime of this paranoid enemy-of-the-state pulp, directed with more style than brains by Antoine Fuqua (Training Day), is how dull it is.
    • 53 Metascore
    • 58 Critic Score
    Champagne
    The story and character work get the job done, but aren't likely to leave a lasting impression.
  84. Annabelle Comes Home
    Annabelle Comes Home is only a little scary, and too religiously dedicated to its own ongoing cash-printing megafranchise for big laughs. But the best moments in this low-key domestic horror film have a tossed-off quality, like the whole production cycle was a fun weekend for everybody.
  85. Robin Hood
    The battles are grainy and ''existential,'' but what they aren't is thrilling. They're surging crowd scenes with streams of arrows and flecks of blood, and Crowe, slashing his way through them, is a glorified extra. He's so grimly possessed with purpose that he's a bore, and so is the movie.
  86. The Tigger Movie
    A conflicted entertainment, compromised by trying too hard to impress the restless, self-referential adults in the audience.
    • 53 Metascore
    • 16 Critic Score
    The Wiz
    Whatever fun this funked-up Wizard of Oz had on Broadway is erased by miscasting and a hideous design (Oz as a New York slum).
  88. Flightplan
    Since Foster plays warming-up-for-a-straitjacket panic with a clenched intensity rare to behold in a Hollywood actress, I, for one, was rooting for the radical -- that is, nuthouse -- option.
  89. RocknRolla
    Ritchie concocts a crime-jungle demimonde that's organically linked to the real world, and it's a damn fun one to visit.
    • 53 Metascore
    • 42 Reviewed by
      Ty Burr
    Crash
    The only entertainment value is in imagining Turner's apoplexy when he watched Spader having sex with Rosanna Arquette's leg wound.
  91. In Too Deep
    A weakly scripted shambles.
    • 53 Metascore
    • 67 Reviewed by
      Ty Burr
    Grumpy Old Men
    Relaxed, valedictory, exquisitely titled, Grumpy Old Men feels like an odd couple's last hurrah.
  93. The Mauritanian
    Director Kevin MacDonald (The Last King of Scotland, Touching the Void) gives the movie both the global sweep of a thriller and the more granular details of a procedural, though in the end hardly any of it takes place in a courtroom.
  94. Imaginary Heroes
    Nothing in Imaginary Heroes rings true, least of all a plot that lightly combines domestic abuse, adulterous pregnancy, teen bisexuality, job abandonment, and a possible case of Mysterious Movie Disease. These are not ordinary people. Or real ones.
  95. Multiplicity
    Ramis’ talented, underused SCTV colleague Eugene Levy makes a brief, welcome appearance as a nuttily dim cement contractor, but he’s a zany interlude in an otherwise muted, unzany tale.
  96. Aladdin
    The ever-quickening half-life of pop culture has gotten so short that we’ve now officially entered the era of diminishing returns. It’s the new normal. What’s old is new again — but not quite as good as you remembered it. Aladdin is…fine, but it has no real reason for being beyond, you know, capitalism. A whole new world, it’s not.
  97. Keeping Mum
    She's no Mary Poppins: Maggie Smith is more like a cheery Angel of Death in the light black comedy Keeping Mum, one of those dutifully daft British diddles (complete with Rowan Atkinson as a vicar) that, except for the blunt sex talk, might have been constructed decades ago.
  98. Piranha 3-D
    I call Piranha 3D ''exploitation,'' rather than a quality scare movie, because it serves up well-timed gross-outs instead of genuine suspense and because the movie has no pretense of providing character, plot, acting, or dialogue that's anything more than boilerplate.
  99. Emancipation
    [Smith's] conviction carries Emancipation a long way, elevating what is essentially a B movie to the realm of something better than its outsize premise: a blunt instrument, maybe, but a brutally affecting one too.
  100. Ma
    Even as the story descends into full bloody camp at its crescendo, Spencer holds the more ludicrous plot threads together.
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