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. Dead Man's Shoes
    The imagery is exotically grungy and jumbled by flashback, but in the end, the picture's more pulp than juice.
  2. X-Men: Apocalypse
    Apocalypse feels like a confused, kitchen-sink mess with a half dozen too many characters, a villain who amounts to a big blue nothing, and a narrative that’s so choppy and poorly cut together that it feels like you’re watching a flipbook instead of a movie.
  3. The Monuments Men
    The Monuments Men sounds like a what's-not-to-like? movie, but it turns out to be a bizarre failure.
  4. The International
    There's something almost endearingly out of sync about the sleek but now dated Euro-thriller The International.
  5. Betsy's Wedding
    The film gently sends up the messiness of modern matrimony, and Alda has assembled an appealing group of actors and given them plenty of breathing room.
  6. Rudderless
    An ill-judged twist pitches the story sideways, but Crudup's performance holds the center. His pain isn't soggy or showy; it just feels true.
  7. The Producers
    The accountant in Bloom would probably approve of the new Producers: It's an efficient extension of a popular brand. In theory, what's not to like? In reality, the whole schmear.
  8. Nacho Libre
    You can see what the film was going for, but the jokes just sit there; you chuckle a few times, mostly out of lame hope, but you never bust a gut, never really get what you came for.
  9. Triple 9
    The most impressive thing about Triple 9 is that it somehow manages to be both predictable and incoherent at the same time. Well, that and the fact that it manages to make half a dozen good actors look really lost.
  10. Everything, Everything
    Director Stella Meghie sidesteps the pitfalls of your typical YA movie, delivering a gorgeous and sweet story that you can’t help but fall in love with.
  11. The Object of My Affection
    So riddled with cultural stereotypes, woe-is-me neurotic mopiness, and glib therapeutic compassion that by the end all it leaves you with is a waxy buildup of falseness.
  12. Epic
    Epic isn't quite destined for the “Again, again!” re-watchability of some of the Pixar classics, but for a satisfying explosion of color on a lazy summer day, it does the trick.
  13. Shirley Valentine
    Talented actors stumbling through clichéd plot twists (Shirley’s nemeses actually envy her), flat one-liners (”Marriage is like the Middle East — there’s no solution”), and pithy self-affirmations (”I’ve fallen in love with the idea of living”) that undermine any genuine feminist sentiments.
  14. Romeo Must Die
    Doesn't take advantage of its own possibilities, either as a hard-boiled gangland battle or as a soft-boiled, interracial Shakespearean love story.
  15. Rat Race
    The easygoing silliness with which this late-summer movie surprise scuttles from mayhem to mayhem and the verve with which the cast throws itself into the fray are so cheering and liberating.
  16. Snake Eyes
    Has Brian De Palma finally lost his mind? Ever since "Carrie" (1976), his one true masterpiece, this director has evolved into a cinematic serial killer of common sense.
  17. Win a Date with Tad Hamilton!
    May find an audience, but I found it to be a leftover John Hughes triangle.
  18. Blow
    Carries little in the way of passion or revelatory charge.
  19. Under the Tuscan Sun
    The author was able to compensate for the book's plotlessness by contemplating other people leading full lives quite as important as hers. In Wells' movie adaptation, even the birth of a friend's baby becomes all about Frances and the play of emotions on Lane's busy, beautiful face.
  20. The Nines
    John August directs it briskly, as a gossip-era "Twilight Zone" of image and reality.
  21. The Frighteners
    The Frighteners is also that rare horror film that actually gets better as it proceeds; this scare machine has a heart and a brain.
  22. Safe House
    Compared with a superior potboiler like "Salt," which messed with your brain in entertainingly far-fetched ways, Safe House is action-movie porridge gussied up into a less-clever-than-it-seems mystery.
  23. Janie Jones
    With Ethan and Janie sharing folkie duets, it has a certain small, wan charm, like a father-daughter gloss on "Once." Breslin is a clear-eyed delight.
  24. Peeples
    Director Tina Gordon Chism keeps the innocuous class-meets-crass jokes bubbling, and the actors are amiable, but Peeples often seems to want to turn these characters into benignly goofy role models. Maybe that's why the basic comic collision never explodes.
  25. Labor Day
    With his latest film, the mawkish and melodramatic Labor Day, Reitman has done an unexpected about-face: He's ditched Wilder for Douglas Sirk. And the swap doesn't do him — or his fans — any favors.
  26. The Interview
    It's a pity that the film is bereft of satiric zing, bludgeoning the laughs with a nonstop sledgehammer of bro humor.
  27. RoboCop
    The film has lots of energized mayhem, and Murphy's unraveling of the conspiracy against him isn't dumbed down, yet it's as if the comic-book action poetry of the original has been encased in a suit of generic armor.
  28. Saint Laurent
    Actor Ulliel, who’s been the face of both Chanel and Hannibal Lecter (in 2007’s Hannibal Rising), knows how to slither. His version of Yves is spoiled, insecure, cruel—and, in the movie’s ironic final shot, tickled to death that we still seem to care about him.
  29. Beautiful Creatures
    Beautiful Creatures, more than the "Twilight" films, lacks danger and momentum. The audience, like Ethan, spends way too much time waiting around for Lena to learn whether she's a good girl or a bad girl.
  30. Chantilly Lace
    Given a wealth of acting talent and the freedom to improvise its way past the cliches that hobble so many films by and about women, Chantilly Lace ends up a cliche anyway: a manipulative tearjerker.
  31. The Intern
    Hathaway’s take on the underwritten Jules is refreshingly unshowy, but De Niro seems a little lost.
  32. The Getaway
    The movie is a true throwaway: By the end, it seems to have disposed of itself.
  33. The Age of Adaline
    Lively looks fantastic in every era’s fashion as it passes, and she does a nice job of conveying Adaline’s old-world diction and reserve; there’s no Gossip in this girl.
  34. Love, Marilyn
    Most of us consider Marilyn Monroe a born star with modest acting skills, but Love, Marilyn deepens the argument that the ditzy, dim-bulb ''Marilyn'' was every inch a performance, and a brilliant one.
  35. Woman Walks Ahead
    Woman could use some of the quieter character nuance of a movie like last year’s "Wind River," another fact-based drama that reflected the struggle of indigenous people with a sensitive, unvarnished kind of naturalism; White’s well-meant version is undoubtedly incomplete, and gilded with a certain amount of Hollywood silliness.
  36. The Golden Compass
    The Golden Compass is a snowbound mystical-whizbang kiddie ride that hovers somewhere between the loopy and the lugubrious.
  37. Robin Hood: Prince of Thieves
    As a piece of escapism, this deluxe, action-heavy, 2-hour-and-21-minute Robin Hood gets the job done. You’re carried along by plot, production values, and some choice supporting actors. Yet it’s a rouser without a rousing hero. Costner doesn’t disgrace himself — he has the star presence the role demands. What he’s not is an impassioned Robin Hood. And without the sense that Robin is on a humanistic mission (one that’s a pleasure to fulfill), the story has no charge.
  38. Skateland
    The film hinges on too many conventional crises (a car accident, a divorce), but the fact that Burns is better at atmosphere than story isn't all bad.
  39. A Walk in the Woods
    Their odd couple interplay propels a series of shambling, expletive-laden mishaps that aim more for easy laughs than Wild epiphanies.
  40. Jurassic World: Fallen Kingdom
    Howard, thankfully, gets more to do than the last go round (and in combat boots, no less!), Pratt busts out his Indiana Jones cocktail of can-do heroism and deadpan jokiness, and Bayona and his screenwriters (Trevorrow and Derek Connolly) test the laws of incredulity with varying degrees of success. At least, until the final half hour when forehead-slapping absurdity finally win out. Up until then, Fallen Kingdom is exactly the kind of escapist summer behemoth you want it to be.
  41. Poetic Justice
    With Poetic Justice, John Singleton has (at least temporarily) lost his way, but he may have found an actor [Shakur] who can help lead him back.
    • 51 Metascore
    • 83 Critic Score
    First Descent
    First Descent is not as eloquent, and thus not as electrifying, as Stacy Peralta's "Dogtown and Z-Boys" or "Riding Giants," the two jock docs it's clearly modeled after. No matter: Visually, MD Films offers up a sugar rush.
  43. Windtalkers
    Windtalkers blows this way and that, but there's no mistaking the filmmaker in the tall grass, true to himself.
  44. Cherish
    Disoriented but occasionally disarming saga packed with moments out of an ''Alice in Wonderland'' adventure, a stalker thriller, and a condensed season of TV's ''Big Brother.''
  45. Pretty Woman
    Starts out as a neo-Pygmalion comedy, but the film is slow, earnest, and rhythmless.
  46. Quiet Chaos
    Moretti makes this ''study'' in despair a naggingly neutral, at times borderline coy experience.
  47. The Neon Demon
    The dialogue, most of which is stilted philosophy about femininity and beauty, sounds like something your freshman-year roommate said and you learned to ignore.
  48. Top Gun
    Top Gun has always been more than just an action flick about a cocky young fighter pilot who feels the need for speed.
  49. Close
    The twists in Close aren’t very twisty and its thrills aren’t particularly thrilling. But if watching women getting smacked around by cartoon bad guys before finally getting payback is your thing, by all means, have at it.
  50. Contraband
    Contraband, while often grungy and far-fetched, does keep you watching. And in January, that's recommendation enough.
    • 51 Metascore
    • 50 Critic Score
    Breathe
    A tame, vanilla whimper of a period drama begging for a better treatment in more assured hands.
  52. 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."
  53. Cesar Chavez
    In the title role, Michael Peña has a no-nonsense fire: He captures how Chavez borrowed from Martin Luther King Jr. but also fueled the struggle with his own improvisatory brilliance.
  54. The Second Best Exotic Marigold Hotel
    Predictable, corny, and mild.
  55. 3 Men and a Little Lady
    A far funnier movie than its predecessor.
  56. Feast of Love
    Far too cloyingly pleased with its own humanity.
  57. You Will Meet a Tall Dark Stranger
    The best scenes are hilarious sessions between the great Gemma Jones and the wonderful Pauline Collins as a charlatan fortune-teller.
  58. Trust Me
    Gregg doesn’t possess the moral rot needed to crawl into the Willy Loman muck, and the film’s dialogue is Glengarry lite, but Saxon Sharbino, as an enigmatic tween actor, is just as the movie claims: the real deal.
  59. Due Date
    And so by the time the pair admire the Grand Canyon and, Due Date has lost its way, relying on its leading men to lead by charisma alone, even though their characters have nowhere interesting to go besides the happily-ever-after of dull, responsible male maturity.
  60. How to Be Single
    How to Be Single is a lot like its Jager-bombing, romance-seeking protagonists: Cute and goofy and kind of a mess.
  61. Girl, Interrupted
    Shrewd, tough, and lively -- a junior-league "One Flew Over the Cuckoo's Nest."
  62. The Net
    The Net is an efficient, workmanlike thriller that, at its best, does a canny job of exploiting the more fanciful edges of computer-age dread.
  63. Six Days Seven Nights
    It's no accident that portions of Six Days mildly echo some of Ford's most popular films, from "Raiders of the Lost Ark" to "Working Girl."
  64. The Baxter
    "The Station Agent's" Peter Dinklage provides diversion as a gay wedding planner.
    • 51 Metascore
    • 42 Critic Score
    Number 17
    The story is practically impossible to follow, the direction is imprecise, and the whole thing is visually dizzying.
  66. The Man with the Iron Fists
    The movie wants to be deadly cool, but mostly it's just deadly.
  67. Love
    The big draw should be 3-D, which enhances the visual intimacy, though only in shooting a male orgasm does Noé go gonzo with the format.
  68. Mighty Joe Young
    Neat as Joe looks, you do wish that someone had bothered to give him a personality.
    • 51 Metascore
    • 42 Critic Score
    The Farmer's Wife
    It's technically competent but narratively sparse, with no humor or sense of urgency. Every scene feels as though it's 30 minutes long, which doesn't help its already lengthy runtime for a silent feature, with the latest restoration clocking in at almost two hours.
  70. Jack the Giant Slayer
    This is how a fairy-tale movie gives us our money's worth today. Even if once upon a time, it was called overkill.
  71. Death at a Funeral
    Reveling in mess and homegrown multiracial mayhem, Death at a Funeral finds a new lease on life.
  72. Valerian and the City of a Thousand Planets
    During the film’s intoxicating first 30 minutes, for example, I couldn’t decide whether what I was watching was brilliantly bonkers or total folly. Then, as the story went on, it came into sharper and sharper focus: Valerian is an epic mess.
  73. Desierto
    A classed-up B-movie riff on "The Most Dangerous Game." Call it “Tex-Mexploitation.”
    • 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.
  75. Asylum
    Nothing wrecks the mood of a high-toned British period piece about erotic obsession quicker than an unintentional laugh. In which case, prepare for Asylum to be derailed by snorts in all the wrong places.
  76. Bird Box
    As Bird time-jumps between the claustrophobic action of the house and a desperate sort of jailbreak, director Susanne Bier (The Night Manager) keeps the mood taut and defiantly in the moment.
    • 51 Metascore
    • 67 Critic Score
    Birthday Girl
    If British writer-director Jez Butterworth had let his sophomore picture get as dirty as Kidman's game recklessness invited -- she started this before ''Moulin Rouge'' and ''The Others'' -- he would have served up a tasty piece of cake.
  78. Le divorce
    I'm disappointed to report that Hudson and Watts have no chemistry as sisters, perhaps because Watts never seems like the expatriate artiste she's supposed to be playing.
  79. My Best Friend's Wedding
    And when [Roberts is] on screen with Mulroney, who seems a frat-house jerk -- all dimples and a perma-tan -- we don't feel much of anything.
    • 51 Metascore
    • 42 Reviewed by
      Ty Burr
    The Pelican Brief
    Pakula insists that The Pelican Brief is haute cuisine, and the seriousness nearly wrecks it.
  81. Mamma Mia!
    It's tempting to say that Mamma Mia! has the worst choreography of any big-screen musical in history, though that would imply that what happens in the film IS choreography.
  82. Think Like a Man
    Think Like a Man is so busy tracking courtship as if it were a science project that the bite-size love stories lack spontaneity.
  83. Teenage Mutant Ninja Turtles
    When a kids’ flick has nothing to offer but cute special effects, it’s easy to think the filmmakers are patting themselves on the backs for their technical ingenuity. That’s not comic fantasy — that’s marketing.
  84. Snitch
    The film tries to paint in shades of gray with vague criticisms of the war on drugs, but the absurdity of its he-man Everyman plot ends up turning its moral palette a muddy brown.
  85. Project Power
    For all the patently corny bits and some 17 attempts at an ending, Power still somehow makes it easy to suspend your disbelief and your imaginary degree in biochemistry, and just let it ride.
  86. She's All That
    The two stars are like cool kids pretending to be tortured poets pretending to be cool. Neither can match the screen presence — the shameless self-infatuated ebullience — of Matthew Lillard, who does a wickedly grotesque turn as Brock Hudson, a kind of goggle-eyed Puck manqué in the film's dead-on send-up of "The Real World."
  87. Skyscraper
    No one churns out big-budget action mediocrity these days as regularly as Dwayne Johnson. So now, just three months after his giant gorilla-a-go-go Rampage, we have Skyscraper — a film that suggests what would happen if you took The Towering Inferno and Die Hard and stripped them of the qualities that made both work.
  88. Aquamarine
    That everything gets worked out -- friendship affirmed, jokes made about silly magazine articles on reeling in a boy -- is as sure as the soundtrack's inclusion of a Mandy Moore song.
  89. My Date with Drew
    Stupefyingly tedious and annoying.
  90. God's Pocket
    In one of his final roles, Philip Seymour Hoffman stars as a man whose no-good stepson is killed on a construction job, while John Turturro, Richard Jenkins, and Christina Hendricks round out a formidable cast that isn’t given much to work with.
    • 51 Metascore
    • 67 Critic Score
    Everyone's Hero
    Everyone's Hero re-creates Depression-era America with surprisingly agreeable anachronistic panache, but a sassy ball and bat don't cut it as compelling cartoon characters, and the not-so-human humans never quite do either (Babe Ruth looks like Shrek).
  92. The Gods Must Be Crazy II
    It’s essential to recognize Uys’ patronization of the Bushmen for what it is: a beguiling form of racism.
  93. Irreversible
    After a while, a didactic overdeliberateness seeps into Noé's design, but there's no doubt that he's a new kind of dark film wizard: a poet of apocalyptic shock.
  94. Risen
    Risen is more entertaining than Bible-adjacent stories are usually allowed to be.
  95. Transporter 3
    The villainous Polluter-in-Chief is eloquently played by Robert Knepper, familiarly loathsome as T-Bag on Fox's "Prison Break." And when Knepper and Statham get together, there's a fine showdown of grimaces.
    • 51 Metascore
    • 50 Critic Score
    Saint Ralph
    At first, Ralph and the movie have moxie -- the kid even gets busted for pleasuring himself in the public pool. Then Ralph starts asking us to take this cornball mission seriously.
  97. DysFunktional Family
    That Griffin tells some of the most intolerant jokes since Andrew Dice Clay should hardly obscure his talent, even if it does tarnish it.
  98. The Road to El Dorado
    This trip down The Road to El Dorado proceeds under the speed limit all the way.
  99. Austin Powers: International Man of Mystery
    A little of this sort of thing goes a long way, but no one does it better than Myers.
  100. What Lies Beneath
    Bears the weight of too many genres jostling for screen time.
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