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. Lost and Delirious
    Evokes the intimacies of teenage girls with unusual delicacy, and Perabo's performance is a geyser of emotion.
  2. Vanity Fair
    It borders on perky -- a duller, safer tonal choice for the story of a conniving go-getter whose fall is as precipitous as her rise.
  3. Tea with Mussolini
    The film values quips and declamations over natural conversation (or an explanation of how such intelligent women could have been so blind to world events).
  4. De-Lovely
    De-Lovely is something dishy and rare: a biopic about a happy, and even enchanted, man.
  5. Monster Hunt
    The plot is even more nonsensical than it sounds, but the monsters’ high-energy antics and the humans’ martial-arts skills make for a delightfully bizarre adventure romp.
  6. Palindromes
    Then there's Todd Solondz's Palindromes, which is that rare event: a memorable provocation.
  7. Lilo & Stitch
    It’s less a Hawaiian rollercoaster ride and more a winsome, feel-good flick about what it is to find one’s family— and to, in turn, be found.
  8. Lost Highway
    Lost Highway has scattered moments of Lynch's poetry, but the film's ultimate shock is that it isn't shocking at all.
  9. Narrow Margin
    Narrow Margin, despite a sturdy turn by Gene Hackman as a cynical assistant DA, is a thinly scripted procession of train-movie clichés.
  10. Apres Vous (After You)
    Suicidal depression has rarely looked so amusing.
  11. Hysteria
    Whenever Rupert Everett appears as a rich fellow who distinctly does not fancy ladies, it's a hysterical history lesson of the hilarious variety.
  12. We Are Marshall
    We Are Marshall has little of the bone-crunchingsincerity of the recent pigskin rouser "Invincible." This one is more like Unconvincing.
    • 53 Metascore
    • 58 Critic Score
    The Phantom
    Yet the raiders-of-the-lost-bones plot and period detail remind us that post-Indiana Jones, a cliff-hanger needs action more blockbuster than lackluster, plus dialogue better balanced between winking kitsch and comfort-food corn.
  14. The Chronicles of Narnia: The Voyage of the Dawn Treader
    I'm confounded by the fact that, aside from the Pevensie siblings and their nicely obnoxious cousin, absolutely everything and everyone aboard the Dawn Treader looks one-dimensional.
    • 53 Metascore
    • 42 Critic Score
    Penguins of Madagascar
    Aims primarily for the kiddies, racing from one frenetic action sequence to another like some haywire Walter Lantz cartoon.
  16. She's the One
    In the end, we never know why anyone is the one for anyone. And this qualifies as a filmmaking problem, at least for us here on Earth.
  17. The Hudsucker Proxy
    For all its technical bravado, The Hudsucker Proxy is an unsettling contradiction, a ''whimsical'' fable made by acerbic control freaks. It's a balloon that won't fly.
    • 53 Metascore
    • 42 Critic Score
    The Better Angels
    It feels more like a poem. Or, at times, a symphony. But it's much less effective as an actual movie.
  19. The Amazing Spider-Man 2
    It's a Marvel spectacle that manages to deftly balance razzle-dazzle, feel-it-in-your-gut slingshot moments of flight and believable human relationships. There's psychological weight to go with all of the gravity-defying, webslinging weightlessness.
  20. Focus
    Has a topsy-turvy sense of injustice.
  21. Enemy at the Gates
    The one valuable prize for audiences in this war pic Cracker Jack box is Jude Law. Once again the talented Mr. Law makes more of a role than most movies know what to do with.
  22. Knock Knock
    Knock Knock is a pretty flimsy erotic thriller, but thanks to Reeves’ oaken obliviousness it’s also got a few moments of deliciously trashy fun.
  23. Humor Me
    Clement channels his wry hangdog humor into a slightly more grounded performance than he often gives. His charm and absurdist tendencies help elevate Nate from a potentially self-centered man-child to a lost soul who is genuinely compelling.
  24. Rent
    The movie is literally a series of showstoppers, unified by the impulse to turn life, at its scruffiest, into theater - into a rhapsody of the everyday.
  25. Another Stakeout
    There’s one funny bit in Another Stakeout — a dysfunctional dinner party — but director John Badham puts more energy into high-tech chase sequences featuring the neighborhood pets than he does into refining the comic chemistry of his stars.
  26. Free State of Jones
    Ross wants to shake up the format­—notably with a few scenes set 85 years after the war—but like so many directors who have tackled ­historical social issues before him, he confuses noble, cornball sermonizing for art.
  27. Sharp Stick
    The movie's final frame asks us to believe that Sarah Jo has finally, ecstatically found herself; by then, whatever reason we have for watching is already long lost.
  28. Mr. Popper's Penguins
    If you can watch Popper's most trusted penguin finally get to fly and feel like you're soaring right up there with her, then you may just let this likable trifle whisk you back to childhood.
    • 53 Metascore
    • 83 Critic Score
    I Trust You to Kill Me
    Even when he looks like a complete dolt, Sutherland still comes off sympathetically, as a cool guy.
  30. Goosebumps 2: Haunted Halloween
    The real magic of the movie comes in its echoes of the first — namely, Black’s performance as the Goosebumps mastermind.
  31. A Good Woman
    British director Mike Barker and magpie New York screenwriter Howard Himelstein, have taken "Lady Windermere's Fan" - Wilde's first big stage success, written in 1892 - and pulped it senseless in the name of puttin' on the charm.
  32. The Killer Inside Me
    The Killer Inside Me may be the darkest film noir ever made.
  33. The Rocker
    The only brazen thing about the film is how shamelessly it rips off "School of Rock."
  34. Finding Your Feet
    Finding Your Feet leans heavily on its cast of British screen greats. Luckily, Staunton, Imrie, Spall, Lumley et al are up to the task of dancing around most of the plot’s more tired or ill-considered moments.
  35. 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.
  36. Bachelorette
    Yet if Bachelorette takes the form of a romantic ensemble comedy, it's purged of any true romantic feeling. You'll laugh, maybe a lot, but you won't feel great about it in the morning.
  37. Muppets from Space
    The Muppets were once devilish and sly, but this ploddingly whimsical musical caper, which uses too many ’70s soul songs to signify its rainbow-demographic cred, is enough to make you want to see them get slapped around by the Teletubbies (at this point, a far funkier crew).
  38. Valley Girl
    As it stands, the movie is just as slick as the lifestyle it supposedly mocks.
    • 53 Metascore
    • 50 Critic Score
    A Goofy Movie
    For parents, the burning issue ignited by A Goofy Movie is ”Will it buy us 78 minutes of peace and quiet?” Provided the kids are old enough to follow a wandering story line that centers on single father Goofy’s adolescent son Max and his quest for peer acceptance as well as he love of a pert humanoid bitch (in the doggy sense), the answer is yes.
  40. Gnomeo and Juliet
    Every movie about cuddly dwarf statues in an English garden should have music this big.
  41. Wanderlust
    I don't know what tools of the trade Paul Rudd and director David Wain share to dream up the kind of inspired nutso stuff Rudd has done in smart-funny-raunchy winners like "Wet Hot American Summer" and "Role Models." But whatever it is, the two are in a groove - and backed up by some blissed-out creative co-conspirators.
  42. Five Feet Apart
    It’s just another three-hankie teen weepie, albeit one with the saving grace of another excellent Haley Lu Richardson performance that gooses the film just past serviceable into the realm of slightly better than average.
  43. Deep Water
    Deep Water isn't really thrilling or erotic, but it accomplishes a kind of diagonal camp sincerity, plummeting its glamorous characters into ever-tawdrier situations. I wouldn't marry it, but I wouldn't kill it. Remind me, what's the third option?
  44. Pokémon Detective Pikachu
    As the wisecracking voice of Pikachu, Ryan Reynolds deserves some sort of special citation for doing the best he can without Deadpool’s f-bombs (or a decent script) to lean on. But the main problem is that the film’s gumball-mayhem plot is so frenetic that it’s impossible to determine if it makes a lick of sense. Maybe that was the point.
  45. The Lucky Ones
    The Lucky Ones isn't dull, and the actors do quite nicely, especially McAdams, who's feisty, gorgeous, and as mercurial as a mood ring.
  46. The Book of Eli
    A ponderous dystopian bummer that might be described as "The Road Warrior" without car chases, or "The Road" without humanity.
  47. Australia
    Long before the second hour of Australia (which feels like the fifth), it's clear that Luhrmann hasn't found a satisfactory way to make a movie nearly as ballsy -- or coherent -- as he wants his creation to be.
  48. O
    To an astonishing degree, O gets the tragic Shakespeare mood, that somber stentorian passion born of hidden slivers of ambition and betrayal.
  49. 40 Days and 40 Nights
    A kinder, gentler teensploitation comedy, but Hartnett's Matt, at least, invites the audience to graduate to something better.
  50. Jig
    They're all fascinating 
 subjects - or would be if Jig didn't dance around their personal stories in favor of overheated waiting-for-the-scores suspense.
  51. Bridgend
    Based on a real-life rash of teen suicides in Wales, Danish director Jeppe Rønde’s 2015 Tribeca winner feels like the sort of slow BBC America procedural you’d quickly give up on.
  52. Brooklyn Rules
    The boys-in-the-Italian-hood clichés were penned by "Sopranos" scribe Terence Winter, so they have snap, if not freshness.
  53. The Dark Half
    The most frightening thing about this movie is that King and Romero actually thought it was scary.
  54. Beauty Shop
    It's a boisterous and amiable movie but not, in the end, a very funny one.
  55. Kevin Hart: Let Me Explain
    Unfortunately, Hart seems to have taken the whole ''leave the audience wanting more'' maxim a little too much to heart. The film clocks in at a hair over an hour. That might be enough for an HBO special, but it feels a little thin for a feature film.
  56. Samba
    Samba finds a much stronger rhythm when it stops contriving and simply shines a light on the joy and pain (and musical interludes) of lives lived in the margins.
  57. Body at Brighton Rock
    It takes a promising premise loaded with white-knuckle, things-go-bump-in-the-night possibilities and proceeds to do surprisingly little with them over the course of its slim 87-minute running time.
  58. Malcolm & Marie
    The whole movie comes across as deeply self-conscious, more concerned with how it sounds than what it's saying, consumed with impressing people rather than expressing something.
  59. Astro Boy
    A marvelously designed piece of cartoon kinetics.
  60. White Squall
    White Squall is lovely to look at, but frustrating to behold.
  61. Pirates of the Caribbean: Dead Man's Chest
    Yes indeed, Pirates 2.0 is a theme ride, if by ride you mean a hellish contraption into which a ticket holder is strapped, overstimulated but unsatisfied, and unable to disengage until the operator releases the restraining harness.
  62. Metroland
    It's the rare portrait of a happy marriage that is honest about the complex currents of desire, and the drama is beautifully played by Bale, who gawks with soulful sweetness, and Watson, who does her most piercing work since "Breaking the Waves."
  63. Point of No Return
    If Point of No Return is trash, it’s slick, diverting trash.
  64. Billy Lynn's Long Halftime Walk
    The weirdest and rarest misfire in Lee’s illustrious career.
    • 53 Metascore
    • 83 Critic Score
    Legend of the Guardians: The Owls of Ga'Hoole
    Director Zack Snyder (300) has crafted the rare 3-D eyegasm that's worth the premium ticket price.
  66. Stick It
    A deliriously, defiantly unfocused headrush, Stick It is primarily an exercise in exercise.
  67. Eight Legged Freaks
    Like many of the worst pop-referential parodies of the post-''Scream'' era, this one stalls on laughs once the big joke has been established.
  68. The Heart of Me
    In their own precisely posed ways, the drenched players in The Heart of Me are as compelling as those in any less decorum-bound love triangle.
  69. The Big Tease
    More a sampling of previous crowd-pleasers...than a fashion statement all its own.
  70. Sky Blue
    When a brilliant fish wriggles by, even a less than ardent anime viewer will want to freeze the frame and gape.
  71. The Awakening
    Not to be confused with a dramatization of Kate Chopin's great 1899 proto-feminist novel, this by-the-numbers British ghost story, set just after WWI, devotes a lot of energy to set decoration.
  72. Approaching the Unknown
    The film doesn’t seem particularly interested in grappling with any of those issues beyond the most superficial level.
  73. Marley & Me
    Wilson has a scene near the end with Marley that's the most wrenchingly tender acting of his career.
    • 53 Metascore
    • 83 Critic Score
    Big Trouble in Little China
    There are two kinds of people: the ones who have seen — and love — Big Trouble in Little China, a John Carpenter kung fu Western buddy Chinese ghost love story, and those poor saps who aren’t burdened with having to try and describe it to the uninitiated.
  75. The Hollars
    Is The Hollars an original, breathtaking dramedy that says anything new about middle-class suburbia and family? No. But with a brisk runtime and a terrific cast, it’s a pleasant and bittersweet look at one family struggling to keep it together.
  76. Can't Hardly Wait
    Agreeably mindless generation-next trash, but it leaves you hungry for a movie in which the characters are more than walking screenwriter index cards.
  77. Red Sparrow
    Like some nefarious KGB amnesia serum, Red Sparrow mostly evaporates from your memory five minutes after you walk out of the theater.
  78. Carrie
    But now we're a lot more accustomed to seeing movie characters mold their destiny through special effects, and since Peirce films the climax in a rather depersonalized, shoot-the-works way, Carrie comes close to seeming like an especially alienated member of the X-Men team. She blows stuff up real good, in a way that would make the devil — or Bruce Willis — proud.
  79. Apt Pupil
    It's scariest as a parable about the evil that exists in the hearts of adolescent boys.
  80. The Guardian
    The movie represents an earnest effort to compensate for all the love the media has shown to firefighters and other land-based first responders in recent years with little thought to the Coast Guard; the drama also crashes on wave upon wave of clichés.
  81. In Time
    The movie, I'm sad to report, has a majorly disappointing follow-through. It turns into a noisy, squalling chase movie.
  82. Our Brand Is Crisis
    The comedy here isn’t very funny and the drama isn’t very sharp.
  83. Kill the Poor
    As an overwrought, overacted drama, Kill the Poor is negligible.
  84. Redacted
    For all of De Palma's studious multimedia trickery -- a valid, even inspired idea -- Redacted is so naive it's an embarrassment.
  85. Bounce
    Watching Bounce, you look at him (Affleck) and believe how much he's got at stake, and you look at Paltrow and know why.
  86. Charlie's Angels
    Charlie's Angels is finally Cameron Diaz's movie. Her Natalie has a heart as insecure as her body is smokin'.
  87. 5 to 7
    While the film has an undeniably sexy glow, it’s too earnest and sappy by half. Fortunately, Frank Langella and Glenn Close drop by as Brian’s disapproving parents.
  88. Brannigan
    Still, with everything working against him, the Duke manages to be an old-school badass and stick it to those fancypants Brits.
  89. Tomorrow Never Dies
    The film forgets that Bond's most dangerous actions have always been his quietest ones, in which he uses his charisma to turn his enemies against themselves.
  90. White House Down
    Skip it, and you'll be depriving yourself of one of the summer's most satisfyingly stupid pleasures.
  91. The Nativity Story
    The Nativity Story is a film of tame picture-book sincerity, but that's not the same thing as devotion. The movie is too tepid to feel, or see, the light.
  92. Anger Management
    The two XXL personalities are in fit, fighting form in a comedy as bracing and furiously right for the moment as it is broad and huggable.
  93. Like Father
    The movie’s arc is too conventional by half, but the appeal of the two main actors keeps it (sorry) afloat, maybe more than it should.
  94. Absolute Power
    Glum and depersonalized, as if Eastwood couldn't muster the energy to guide us through this maze of improbable twists. [14 Feb 1997, p. 39]
    • Entertainment Weekly
    • 52 Metascore
    • 67 Critic Score
    The Protector
    It's silly, at times laughable, sure, but Jaa has a reckless, bone-cracking grace that transcends the film's triviality.
  96. LUV
    The rapper and actor Common has become a highly skilled screen star, but this touchy-feely dud does him wrong.
  97. The Devil's Own
    In this quiet, absorbing, shades-of-gray drama, a kind of thriller meditation on the schism in Northern Ireland, we get the story of not one but two powerfully opposing heroes.
  98. Extremely Wicked, Shockingly Evil and Vile
    What makes it more than a slick impersonation of sociopathy, though, is the layers he peels — Bundy’s desperation, his endless calculations and longing for connection. He also has some great interplay with John Malkovich, as the Tallahassee judge who engages in a sort of folksy, combative back-and-forth with him in court that nearly verges on buddy comedy.
  99. Malice
    The only thing that makes this ludicrous botch even borderline watchable is Alec Baldwin’s enjoyably supercilious performance as a leering stud surgeon who thinks nothing of belting back shots of bourbon before going in to perform an operation.
  100. XX/XY
    Emotional presence and a sophisticated understanding of commitment-phobia (as something other than a comedic punchline or an excuse for sex scenes) distinguishes this intense, contained drama, as does the unforced, sensual, and sensitive cinematography of Uta Briesewitz.
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