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 2.1 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. Gladiator
    The fight scenes are vicious, demagogic, and thoroughly exciting.
    • 48 Metascore
    • 67 Reviewed by
      Ty Burr
    Fortress
    When Lambert is onscreen, Fortress is just an effective action cheapie. Whenever Smith is the focus, it approaches junk poetry.
  3. 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.
  4. Love Jones
    Still, even when the plot sags, the erotic moodiness of Love Jones remains fresh.
  5. Raising Cain
    In the lurid and gonzo Raising Cain, writer-director Brian De Palma doesn’t just rip off Alfred Hitchcock. He rips off himself ripping off Hitchcock: He rides over the top of self-parody into a kind of loony-tunes reflexivity.
  6. Deep Cover
    Duke is out to blend the commercial, gut-wrenching pleasures of an inner- city shoot-’em-up with the complex moral rage that marked such black-cinema touchstones as Sweet Sweetback’s Badasssss Song (1971).
  7. Belfast
    Branagh's genuine affection and nostalgia for his subject suffuse the movie; if only the misty romanticism of his story could match it.
  8. The Mad Women's Ball
    Laurent, an actress known Stateside for movies like Inglorious Basterds and Beginners, has adapted Ball from the bestselling novel by Victoria Mas, whose facts are rooted in actual history. She shares Mas' justifiable outrage at the casual inhumanity of it all — the brutal experiments and biased theories, the rampant physical and emotional abuse — and also her sense for melodrama.
  9. Encounter
    Riz Ahmed takes Encounter a long way. But he can't single-handedly carry a film that never quite figures out what it wants to be — stark sci-fi paranoia? Psychological family drama? Desert road-trip apocalypse?
  10. Don't Worry Darling
    The movie, whatever its pile of ideas about love, gender constructs, and modern living, never really transcends Stepford mood-board pastiche. It's all nefarious and gorgeous, Darling, and strictly nonsense in the end.
  11. Swan Song
    Without much dramatic tension beyond the will-he-or-won't-he of Cameron's final choice, the film feels oddly inert, a melancholic iPhone ad stretched to feature-length.
  12. The Tender Bar
    Affleck and Clooney make sense as collaborators; both of them became directors to get out of the way of their public images. Hopefully, the next time they decide to work together, they'll lean even further into the intimacies of a setting like the Dickens, a universe unto itself.
  13. Everything Everywhere All at Once
    The actors, particularly the inexhaustible Yeoh, do much of the work to ground what often feels, with its dream logic and layer-cake Inception feints, like a coded story whose secret key you haven't been invited to share.
  14. 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.
  15. Men
    More disappointing, maybe, is how much the story takes Buckley's agency away as it goes on, her defiant, sharply defined presence in the first hour giving way to the bog-standard helplessness of every woman trapped in a horror movie. Men's eerie, encompassing mood lingers; the rest is a mystery.
  16. Devotion
    Powell and Majors, both born with surfeits of natural charisma, strain mightily to imbue their scant dialogue with deeper meaning, but Devotion, earnest and determinedly earthbound to the end, never really captures the air up there.
  17. The Super Mario Bros. Movie
    It's all quite fun, with a good sense of humor and a consistent computer-animated aesthetic — plus, at 90 minutes including credits, it's short, sweet, and over before anything can get annoying.
  18. The Gray Man
    A maximalist action thriller that is almost comically violent, unfailingly glib, and intermittently very fun.
  19. Day Shift
    Shift looks and feels low-budget, from its slapdash effects to its sketched-in script, though that also feels like kind of the point: It might be bright daylight, but it's always midnight-movie time somewhere.
    • 66 Metascore
    • 67 Critic Score
    When Boys Leave Home
    Downhill is a serviceable film, with an admirably minimal use of title cards, and it effectively shows how difficult life can become for the working class. The ending, however, is so upbeat that it substantially detracts from the sobering pessimism of the preceding movie.
  21. Mr. Malcolm's List
    Despite the source material's similar popularity, though, the movie drags, a confluence of silly plot points and mile-wide archetypes with too little natural chemistry between its ridiculously good-looking leads.
  22. Double Team
    Double Team becomes an enjoyably decadent spectacle of gymnastic preposterousness.
  23. White Noise
    Compared to the tender groundedness of Baumbach's finest films, like The Squid and the Whale and Marriage Story, the scampering leaps and feints of his script here come off as deliberately arch, even artificial. The movie's final scene, though, without spoiling too much, is also easily its best.
  24. The Son
    Unlike The Father, which expanded Zeller's stage source material with maze-like complexity, The Son pins us in for an endgame that you wish had more of a takeaway than a gut punch.
    • 67 Metascore
    • 67 Critic Score
    The Sentinel
    Salinger’s a rather wan screen presence, and the film’s both overlong and undercooked; but the head, frequently seen in lingering close-up, is so realistically gruesome that you wind up transfixed anyhow.
  26. My Policeman
    Policeman, as emotionally earnest and elegantly made as it is, mostly feels like a movie we've seen many times before: a pleasantly escapist two hours with pretty people in pretty clothes, madly sublimating their feelings until the final, luminous frame.
    • 62 Metascore
    • 67 Critic Score
    The Fly
    The original The Fly scared baby boomers something fierce in its day, but time hasn’t been kind to it; in fact, its big scare moments seem almost ludicrously chaste.
  28. City Hall
    In the course of City Hall, Calhoun doesn’t just get to the bottom of a scandal. He grows up, and watching Cusack enact the transformation, I thought I glimpsed this gifted young actor growing into a star.
  29. Chain Reaction
    Chain Reaction, while crisply shot, unfolds in an action-suspense-thriller void. The movie’s emblem might be the terse, bureaucratically impersonal performance of Morgan Freeman, who, as the energy project’s chief government liaison, manages to play the film’s most ambiguous character without raising its dramatic temperature one degree.
    • 62 Metascore
    • 67 Reviewed by
      Ty Burr
    The Rugrats Movie
    The tapes of the TV episodes are in heavy rotation at our house, and the movie is not. And that’s because even a 4-year-old can tell when something has gotten a little too big for its Huggies.
  31. A Jazzman's Blues
    [Perry] also has a way of making even the most telegraphed twists and overheated dialogue ring with conviction, a consummate entertainer to the end.
  32. 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.
  33. Magic Mike's Last Dance
    Last Dance is missing a lot, but it has the moves you mostly came for — and in its final strobe-lit moments, the full release of a Hollywood ending.
    • 51 Metascore
    • 67 Critic Score
    Wild Bill
    While Hill’s hallucinatory script — adapted from a novel and a play — is about the dangers of fostering your own myth, the movie fawns over its character’s legend rather than aiming for his murky reality.
  35. You People
    The movie is much better when it relaxes its death grip on screenwriter-y punchlines and slapstick cringe and just allows its cavalcade of stars to act like actual, you know, people.
  36. Infinity Pool
    At least Mia Goth, herself recently reborn as indie horror's new scream queen with Pearl, understands the assignment, getting more unhinged with every scene (her character starts off with vigorous flirting and a brusque handjob, and goes from there).
  37. Pain Hustlers
    Solid performances are overshadowed by chaos. Yates brought magic to the Wizarding World, while here, he stuffs Pain Hustlers with voiceovers, freeze frames, and black-and-white mockumentary talking heads. These are gimmicks that have been done before — and better — in films like The Big Short and now just feel derivative.
  38. Haunted Mansion
    Much like its namesake, Haunted Mansion is an enjoyable, if somewhat sedate experience that is more spooky diversion than thrill ride.
    • 84 Metascore
    • 67 Critic Score
    Limelight
    Overburdened by Chaplin’s creaky script and fussy acting. Nevertheless, his musical duet with Buster Keaton is an absolute gas, proof that even when Chaplin was bad, he could still be good.
  40. Fingernails
    There are interesting concepts at play in the ways Fingernails explores loneliness and desire. Notably, the test doesn't account for long-term compatibility but the more intangible presence of love. But the film doesn't go far enough in the ways it questions the science and accuracy of the test.
    • 47 Metascore
    • 67 Critic Score
    The Mirror Crack'd
    An adaptation of an Agatha Christie Miss Marple mystery, with Angela Lansbury as the sweet little old sleuth, it has the vitality of a vicar, yet it’s enormously campy fun.
  42. Nyad
    It is quite the tale of heroism and courage in the face of adversity, as well as the importance of teamwork and never giving up. But that is all diluted with so many things at play.
  43. Inside Out 2
    Inside Out 2 can surely be used by parents as a teaching tool if a kid ever spirals into a freak-out before entering a new school or having a big audition. But even with the antic animation, a funny dig at Blue's Clues, and a color palette resembling an exploded box of Trix cereal, the movie suffers from a bit of a do-your-homework vibe.
  44. A Different Man
    The final result is a messy but memorable effort, with Stan, Pearson, and Reinsve giving performances that are anything but skin-deep.
  45. Superman
    With a cast this excellent, there's a capacity for something truly super in a future film — if only Gunn chooses to put the characters' humanity first.
    • tbd Metascore
    • 67 Critic Score
    My Best Friend
    [Lanthimos] also co-directed it with comedian Lakis Lazopoulos, which means there are fewer of his handprints here, though he still imbued the buddy comedy (about a man who finds his pal in bed with his wife) with plenty of dark humor.
    • 42 Metascore
    • 67 Critic Score
    Fluke
    Although Fluke‘s theme is a bit too mature for young children and too juvenile for many adults, most renters will get their Kleenex’s worth somewhere, whether in Fluke’s triumph over the insupportable horrors of animal testing or in the humans’ tidy tale of loves lost and won.
  48. Piece By Piece
    There are glimmers of insight here, often in the brighter moments (for instance, the sweet story of how Pharrell devised his massive hit, "Happy," and the emotional response triggered by its success). But despite touting an inventive concept, the whole thing remains fairly surface level.
    • 47 Metascore
    • 67 Critic Score
    When Worlds Collide
    When Worlds Collide is essentially 81 minutes of bad emoting by future TV actors.
  50. Unstoppable
    The movie is well made and it’s a lovely celebration of a real-life hero. But the whole thing feels very predictable, which amounts to a general sense of mediocrity.
  51. Warfare
    That the specific task at hand in Warfare is so vague is a good reminder that though this happened 20 years ago, there are people right now who have been ordered to enforce political will with violence, and this savagery will likely repeat for all time.
    • 68 Metascore
    • 67 Critic Score
    Watch on the Rhine
    Lillian Hellman’s WWII potboiler Watch on the Rhine feels dated.
  53. I Know What You Did Last Summer
    For young people looking for something to do besides doomscrolling, you could do far worse. For those old enough to have seen the first one in theaters, this'll be a decent one to stream later in the year.
    • 69 Metascore
    • 67 Critic Score
    East of Shanghai
    The director's handle on visual storytelling remains strong, but at this point, he hasn't quite figured out how to direct dialogue, which is a massive problem for a movie with so much talking.
    • 56 Metascore
    • 67 Critic Score
    Strauss' Great Waltz
    Decently crafted, but somewhat stiff and unremarkable.
    • 67 Metascore
    • 67 Critic Score
    Secret Agent
    It's pleasant to see a story that highlights the pointless absurdity of war and espionage, although some of the jokes are pretty mean-spirited.
    • 61 Metascore
    • 67 Critic Score
    Topaz
    Though one of his later films, Topaz suffers from unusual pacing that drags for long stretches, but it also features exemplary Hitchcock suspense sequences, including a brisk escape set piece in Copenhagen and an impossibly tense scene in Harlem.
  58. Percy Jackson & the Olympians: The Lightning Thief
    Has all the CGI sorcery of a Harry Potter pic, but none of the magic.
  59. Dear John
    Ironically, they make the bond between John and Savannah look so natural that the ''dear John'' turn in their relationship makes even less sense than it does in the book.
  60. The Lovely Bones
    A sad-but-hopeful, dramatic-but-gentle fairy tale intentionally made less upsetting for teens.
  61. Youth in Revolt
    Timing is everything. And Youth in Revolt is late -- arriving not just at the tail end of the star's sell-by date for this particular kind of character, but more importantly at the tail end of the intended audience's attention span for an inconsequential Sundance-y tale of sexual coming-of-age.
  62. Whip It
    The movie is Drew Barrymore's directorial debut (she also plays fellow Hurl Scout Smashley Simpson), and it's clear she's more attuned to grrrlishness than real athletic power.
  63. Pandorum
    How brazenly can one film rip off "Alien," "I Am Legend," and, somewhat oddly, "The Poseidon Adventure"?
  64. 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.
  65. Armored
    Alas, Armored is one predictable and forgettable movie that should consider itself very lucky not to have gone straight to DVD.
  66. Extract
    Couldn't Mike Judge, with his acid wit, have come up with a better title for a suburban-schlub comedy than ?Extract?
  67. Amelia
    A frustratingly old-school, Hollywood-style, inspirational biopic about Amelia Earhart that doesn't trust a viewer's independent assessment of the famous woman pictured on the screen.
  68. Taken
    Propulsively outandish thriller.
  69. The Devil's Rejects
    Zombie doesn't pretend to be on the side of the victims. He makes no bones about his identification with the sexy outlaw serial killers.
  70. Blood Diamond
    There is every reason to learn about the link between jewels and death, by all means, but no reason to try to disguise a term paper as entertainment.
  71. 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.
  72. My Sister's Keeper
    Their message (Cassavetes and screenwriter Jeremy Leven) in My Sister's Keeper? Cancer sucks, but there's always the balm of beach scenes and an emo soundtrack.
  73. Death at a Funeral
    By the end of Death at a Funeral's effortful farce about busted British propriety, you may feel that peculiar facial ache that comes from wishing to laugh with no really satisfying release.
  74. Mindhunters
    What does satisfy is the pleasantly becalming presence of "Deep" costar LL Cool J. He's fast becoming Liv Ullmann to Harlin's Bergman.
  75. Coach Carter
    Jackson, though, does lend this earnest formula flick a core of conviction.
  76. Assault on Precinct 13
    Volatile yet fairly lunkheaded.
  77. Hide and Seek
    Hide and Seek, despite early signs of higher goals, is a factory-standard box of shocks.
  78. Pooh's Heffalump Movie
    Pooh's Heffalump Movie is a harmless little ''ex-po-tition'' (to use a Pooh-ism). Still, making this your kids' first Pooh experience would be like weaning them on New Coke.
  79. Constantine
    The movie is ornate, arbitrary, and fetishistic, too, with the added challenge of being hell to follow for those without access to crib notes. Intellectually, I can admire the emphasis on visual style over plot clarity.
  80. Be Cool
    The hell of it is, Be Cool is tepid entertainment that could be cool if it spent less time entertaining us as if we were demanding a definition of rhythm.
  81. In My Country
    In My Country doesn't so much explore as use the tragedy of black South Africa to give its heroine a righteous slap of nobility.
  82. The Boys & Girl from County Clare
    Feel-good ethnocomedy.
  83. Guess Who
    Guess Who, with its PG-13 putdowns, turns into the kind of love story that Hollywood feels most comfortable with: a buddy movie, salt-and-pepper variety. All that's missing is the cop car.
  84. Beauty Shop
    It's a boisterous and amiable movie but not, in the end, a very funny one.
  85. Sin City
    Glued tightly from page to screen, Sin City is so seduced by the visual possibilities of sin that style becomes its own vice.
  86. Sahara
    This insanely busy, exceedingly long, and sometimes endearingly preposterous rendering has simply gotten the directions reversed in its insistence on sticking only to where men-who-make-adventure-flicks have gone before.
  87. One Missed Call
    One Missed Call is so unoriginal that the movie could almost be a parody of J-horror tropes, yet Miike, for a while at least, stages it with a dread-soaked visual flair that allows you to enjoy being manipulated.
  88. The Longest Yard
    Each joke and one-liner is a made-for-HBO zinger, each scene with Sandler a reaffirmation of the old friendship between the two successful SNL alums.
  89. Yes
    Parse the philosophy behind the spill of words, though, and you'll find intellectual jumble, junk. Better to nod to Yes as a drowsing chant than take it seriously as a statement of global concerns.
  90. Rebound
    The whole thing feels like a half-day of community service, which Lawrence walks through good-naturedly.
  91. Deuce Bigalow: European Gigolo
    While sloppier than the sloppiest of seconds, is laudable in one important regard: Its obsession with the male body.
  92. Pulse
    Nothing in the two snail-paced hours of Pulse makes close to a shred of sense?
  93. The Brothers Grimm
    Strenous yet flat, The Brothers Grimm is a let's-see-what-sticks spectacle that, coming from Terry Gilliam, is more grim than "Grimm."
    • 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.
  95. Thumbsucker
    Pucci proves to be one of the most charismatic male ingenues since Johnny Depp.
  96. The Thing About My Folks
    Thing is Woody Allen on a third-grade reading level. Neurosis abounds, but awareness doesn't, and certain ''jokes'' demand additional therapy.
  97. 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.
  98. Two for the Money
    Sports betting is a great subject for a movie, but Two for the Money is short on the number-crunching nitty-gritty.
  99. Elizabethtown
    Think of Elizabethtown as Cameron Crowe's rambling amateur travelogue, one from a well-liked professional filmmaker momentarily so distracted by private notes scrawled on his souvenir map that he gets lost en route to telling his story of self-renewal. This undershaped, overlong warmedy is an homage to the memory of his late father.
    • 34 Metascore
    • 58 Critic Score
    Doom
    By hewing close to James Cameron's "Aliens" playbook, Doom manages to escape the game-to-movie curse that afflicted "Resident Evil," "House of the Dead," and, well, every other movie based on a game.
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