Entertainment Weekly's Scores

Select another publication »
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
view
per page
  1. Nobody Walks
    Russo-Young studies the strange species of affluent Angelenus erectus under a microscope that distorts every character into unbelievability.
  2. Casino Jack
    Tonally scattershot and more than a little heavy-footed.
  3. The Grinch
    Kids could still watch the peerless 1966 original, though their blooming little cortexes will probably respond to the shiny-bright novelty here — and be newly spellbound by a tale almost as old as color television, but still evergreen.
    • 51 Metascore
    • 50 Critic Score
    Poison Ivy
    Drew Barrymore is terrific as a jailbait fatale who manipulates the members of a dysfunctional well-to-do family in this gothic sexploitation item. But while Poison Ivy tries hard to work up a sweat, it ends up so over the top that it can’t help but go splat.
  5. Wild Things
    A tricky-bordering-on-gimmicky film noir with a glaze of soft-core kink.
  6. The Walker
    The brittle, very ''written'' catty quips meant to characterize Washington hypocrisy sound perfunctory; the story of an aging, self-hating homosexual who goes home alone to his lacquered town house feels ancient as well as uncomfortable for the writer-director. (Harrelson seems both game and ill at ease.)
  7. Dumbo
    As a faithful update of a cherished classic, the new Dumbo will get the job done for restless kids on a rainy Saturday afternoon. Still, we’ve come to expect more magic, more bizarro pixie dust from Burton. Maybe that’s why the second marriage between the director and Disney feels more like an uneasy corporate alliance than a union of artistic passion.
  8. Rough Night
    A raunchy, wildly off-the-rails farce from the team that more or less brought you Broad City.
  9. Wild West Comedy Show: 30 Days & 30 Nights - Hollywood to the Heartland
    Has a loosey-goosey, what-the-hell spirit that's easy and fun to hook into.
    • 51 Metascore
    • 50 Critic Score
    Doomsday
    Marshall cribs whole sections from other movies (Aliens and The Road Warrior, most blatantly) so baldly that you have to wonder how he'd like it if someone ripped off "The Descent" this egregiously.
  11. The Hard Word
    An Australian crime caper that's one part ''Sexy Beast,'' one part ''The Full Monty,'' and three parts very flat soda.
  12. Johnny English
    The hilarious Malkovich, coiffed in an artful pageboy and savoring a fruity French accent, would overpower the competition on sheer thespian madness.
  13. Where'd You Go, Bernadette
    Linklater, who brought such subtle, generous feeling to films like Boyhood and the Sunset trilogy, feels somehow miscast as the steward of Bernadette‘s willful eccentricities.
  14. Operation Fortune: Ruse de Guerre
    Globe-trotting tomfoolery ensues, in ways never quite as witty or engaging as you want them to be, though Hugh Grant and Josh Hartnett bring a certain insouciant zing.
  15. Woman in Gold
    Even Helen Mirren, the Queen Midas of class acting, can’t fix this well-intentioned miss.
  16. The Promotion
    The Promotion edges toward some pretty bleak stuff. Then it steps back and laughs, like an office slacker.
  17. Quigley Down Under
    Vapid, cutesy, knockabout Western.
  18. My Bloody Valentine
    What really leaps out at you about My Bloody Valentine 3-D is its lack of imagination.
  19. Savage Grace
    The director, Tom Kalin, stages acid duels, but he should have provided more psychological structure. Though Moore, a great actress, turns fury into verbal music, we're never quite sure what's driving her.
  20. Creation
    One of those tepid, genteel biopics that's far too busy ennobling its hero to bother giving him any recklessly interesting personality traits.
  21. Me Before You
    The film will feel familiar to anyone who’s sniffled through "Love Story" or "The Fault in Our Stars." It’s better than both.
  22. Free Zone
    Natalie Portman demonstrates tour de force weeping in the back of a taxi as an American searching for her roots in Israel.
  23. The Fountain
    I'm as touched and charmed by its failures as I am transfixed, at times, by its successful inventiveness and audacity.
  24. Eros
    For the invited filmmaker, the opportunity to make a statement is surely a thrill, but for the viewer - who can't pause indefinitely, as with a book, between stories - the focus-shifting is a demand.
  25. Karate Kid: Legends
    Weirdly it's because it is so damned hokey that parts of the movie are agreeable. One can't help but laugh. That, plus the lead performer, Ben Wang as Li Fong, is extremely likable. He gives a terrific performance, even if you've seen every beat before.
  26. All the Little Animals
    Where the movie falters is in sustaining the tricky balance between pastoral life lessons and creepy suspense.
  27. Jay and Silent Bob Strike Back
    A hit-or-miss affair that starts out wobbly and then gathers comic momentum.
  28. The Loss of a Teardrop Diamond
    Howard looks peachy, and actor-turned-director Jodie Markell sweats the details -- moonlight, honeyed accents -- but the brittle script resists restoration.
  29. The Accountant
    The whole thing’s ludicrous, down to the last loony twist, but it’s also a lot more fun than Batman v Superman.
  30. Jim Brown: All American
    From what we can tell, Brown was a dancer, all right, in life as well as on the field -- a dancer with a powerful forearm, one that Lee covers in protective padding.
  31. Trolls World Tour
    Despite falling for some classic sequel potholes, Trolls World Tour continues the fun energy of its predecessor in a way that should provide some quarantine relief for families.
  32. My Blueberry Nights
    Norah Jones, making her big-screen debut as a wistful wanderer, is a beautiful blank, and the fragments barely add up to a movie.
  33. Yves Saint Laurent
    Scenes between YSL and rock-steady lover Pierre Bergé (Guillaume Gallienne) spark, but the film stays too reverent to truly turn heads.
  34. Star Wars: Episode I - The Phantom Menace
    Fails to recapture the elemental magic of Star Wars, and that, ironically, is because it represents the coarse culmination of the original film's adrenaline aesthetic.
  35. Popcorn
    Though it isn’t even trying to scare you, this is a very nifty black-comic horror movie, one of the rare entries in the genre with some genuine wit and affection.
  36. Holly
    A dawdling, myopic drama.
  37. Predators
    As a fan of Schwarzenegger's macho, heart-of-darkness original, it gives me no pleasure to say that Predators is an uninspired mess of mediocre action scenes strung together until the final reel.
  38. Hotel for Dogs
    There are still cuddly pups and piddle jokes aplenty.
  39. Just Wright
    The movie is a rigged game of clichés and platitudes, but fans will be pleased by additional proof that Latifah is a lovable Queen but not a pampered princess.
  40. The Program
    James Caan is underused as the crusty coach who needs a championship season, but he is supported by good turns from the highly angst-ridden quarterback (Craig Sheffer) and the straight-from-the-streets rookie running back (Omar Epps).
  41. The Broken Hearts Club: A Romantic Comedy
    A majority oriented movie that assumes sophisticated familiarity with a sexual minority.
  42. Assassination Tango
    Acting doesn't get more personal, or much greater.
  43. The Transporter
    It's like the worst movie Jean-Claude Van Damme never made.
  44. The Young Black Stallion
    The hoofbeats are seismic, the music is like hot cheese, and the sandy vistas thrill appropriately: It's a perfectly rousing Ben-Her of a centerpiece.
  45. Ender's Game
    By the time the movie finally manages to get interesting, audiences may be too numb and their retinas too fried to win back.
  46. Holy Rollers
    Feels staged and exoticized in the way stories about insular communities often do when told by outsiders.
  47. Breakfast with Scot
    Deserves sympathetic attention, if only for the family-values specifics loaded into the story, and the way mildmannered stars Ben Shenkman (Angels in America) and Tom Cavanagh (Ed) embrace their instructional roles.
  48. Sister Act
    The movie is a Disneyfied contradiction: a lapsed-Catholic comedy without a whiff of true blasphemy. Still, on its own fluffy terms, it’s pleasant nunsense.
  49. The Gentlemen
    The Gentlemen is nothing if not a callback to the Locks of yesteryear, star-stacked and defibrillated with enough juice to jolt a gorilla out of cardiac arrest.
  50. Macbeth
    The words belong to Mr. Shakespeare. All else in this Macbeth is the pleasurably fevered invention of brash Australian director Geoffrey Wright.
  51. The Expendables 2
    What a fun-dumb relief! In the isolationist Expendables world, all foreigners are bad news. All buddy bonding is done with a wink. All pretenses of art are checked at the door. Someone even says, ''I'll be back.'' (Guess who?)
  52. Star Trek: Nemesis
    A little bit obsessed with replication.
  53. Birth
    When Kidman slithers into a bathtub with her young ''husband,'' the scene, in its soft-pedaled way, is the definition of exploitation: It appears to have been cooked up for no other purpose than to conjure creepy child-porn overtones.
  54. Meet Monica Velour
    The role of a former star of the "golden age" of porn sounds perfect for Kim Cattrall, and she handles it nicely - at least, in the rare moments when this indie comedy isn't terminally contrived.
    • 51 Metascore
    • 75 Critic Score
    The Call
    Surprisingly good, and surprisingly gruesome, fun.
  56. Going the Distance
    Going the Distance may be a minor movie, but it's also the rare romantic comedy in which you can actually believe what you're seeing.
  57. Mike and Dave Need Wedding Dates
    Efron and Devine are an endearingly loony duo, and as much as Plaza and Kendrick never quite sell their vixen shtick, the supporting cast is wickedly stacked. It’s like riding a roller coaster fueled by Red Bull and grain alcohol: kind of gross but pretty fun, too.
  58. Lucía, Lucía
    Anxiety is a fair response to a midlife crisis, but that hardly means that we want to see the heroine of a movie spend scene after scene trapped in a nervous dither of indecision. That's exactly what happens in Lucia, Lucia.
  59. The Brown Bunny
    It's hard to deny that Gallo has caught the freedom and melancholy, the intoxicating aimlessness, the lonely twilight beauty of a solo road trip in a way that no previous filmmaker quite has.
  60. Ellie Parker
    Coffey, a tart comic mind who should cast his net farther from the 405, pads his story with more and more familiar degradations, and Watts plays each one to the hilt.
  61. Papillon
    As for the new Papillon, it wisely doubles down on high adventure, but it’s still as lifeless as its predecessor. Just in different ways.
  62. 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.
  63. Diary of a Wimpy Kid 2: Rodrick Rules
    Nothing is new, which is a problem. Nothing is particularly funny or endearing, which is a worse problem.
    • 51 Metascore
    • 50 Critic Score
    The Night Listener
    Is The Night Listener a wintry drama with a few schlocky jolts, or an underdone psychological thriller straining for some dramatic heft on the side? Hard to tell, but either way, the movie doesn't cohere.
  65. 21 Bridges
    It’s not a bad setup, and Bridges would be a better movie, easily, if it had let a little more nuance creep into its script. Instead, it lays the task squarely on Boseman’s shoulders — having him fill in all those broad strokes with his own fine lines, and spraying bullets and mayhem across the rest.
  66. Lovelace
    Seyfried works hard for your empathy, with the same naïveté that helped secure Boreman's rep as the ''sexy Raggedy Ann.'' And Sarsgaard is perfect for this role, oozing '70s sleaze in all its mustache-smoothing glory. But even they can't add depth to this sad story.
  67. Marry Me
    It's all cream puff, a featherweight fairytale too shiny and mild to attempt the better movie about midlife romance and second chances that might have been.
  68. Hardcore Henry
    A hypercaffeinated first-person action flick that teeters somewhere between gonzo insanity and a nausea-inducing endurance test.
  69. John Carter
    Nothing in John Carter really works, since everything in the movie has been done so many times before, and so much better.
  70. Mulholland Falls
    This is Chinatown for chowderheads.
  71. Taken
    Propulsively outandish thriller.
  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. Step Brothers
    Step Brothers is a Judd Apatow production and it's the closest that the Apatow factory has come to spitting out a dumb-and-dumber high-concept comedy.
  74. Anonymous
    Thumpingly silly yet self-serious period-piece what-if.
  75. Jack Reacher
    That Cruise fails to make a case for Reacher's allure, though, has less to do with physical dissonance than it does with the film's inability - stupefying inability, really - to otherwise make a case for the character's originality in a movie so choked with visual clichés and dreadfully moldy dialogue.
  76. Romeo Is Bleeding
    Romeo Is Bleeding just ends up flaunting its Grand Guignol outrageousness, rubbing our noses in its desire to be a gaudy hipster freak show. By the end, the film has become so mired in pointless sensation that it ceases to be any fun at all.
  77. The Cut
    Despite a trio of knockout performances, The Cut is a lackluster boxing drama.
  78. Super
    It's really a one-joke movie, but the joke is a good one.
    • 50 Metascore
    • 75 Critic Score
    SLC Punk!
    For a while, angry young Stevo (Lillard) turns his quest for total anarchy into a grungy, giddy, randomly violent rave. Then reality creeps up and, well, it bites.
  80. The Saint
    Top-heavy with whimsy, so muddled it makes Mission: Impossible look like a model of narrative cohesion, The Saint is the apo-theosis of the new incoherence, with the cliches of espionage and action thrillers jammed together like bumper cars.
  81. Vanishing on 7th Street
    Anderson has made a zombie movie without the zombies.
  82. Kill the Irishman
    The cast is tasty, including Vincent D'Onofrio as a friendly fellow Mob guy, Val Kilmer as the head of the Cleveland PD, Christopher Walken as an underworld power broker, and a bunch of character actors hoping for a remake of "The Sopranos."
  83. Texas Chainsaw Massacre: The Next Generation
    The movie recapitulates the absurdist tabloid-redneck comedy of the great, original Chainsaw without a hint of its primal terror.
  84. City by the Sea
    Moves along with a quietude, a scruffy direct plainness that has long gone out of style.
  85. Varsity Blues
    The movie is also brisk and wholehearted and smarter than you expect.
  86. Hoodlum
    The director, Bill Duke ("A Rage in Harlem"), stages all of this with proficient confidence, yet he never truly summons the operatic power of the genre -- the pulp tragedy of ambition built on (and drowned in) blood.
  87. Cadillac Man
    Cadillac Man, like the recent I Love You to Death, starts out as comedy on a human scale and turns into canned farce. For an actor like Robin Williams, that’s the movie equivalent of being muzzled.
  88. Maze Runner: The Death Cure
    There’s a pleasing sort of B-movie-on-an-A+-budget simplicity to Death Cure.
  89. Happy Feet Two
    Earnest messages about bad climate change and good parenting skills have been replaced by a we-all-share-a-planet sense of fun that's more "Finding Nemo" than National Geographic.
  90. Last Christmas
    It takes a lot of talent, apparently, to make a movie like Last Christmas — a pile-on of dingle-bell schmaltz so deeply ridiculous it’s almost hard to believe all the top-tier names that went into it.
  91. The Shadow
    The Shadow, like 1991’s The Rocketeer, tries to pass off its retro thinness as a quasi joke, but it’s a desperate strategy. The filmmakers seem to be kidding everyone — the audience and themselves — and that just leaves us waiting for this particular flashback to fizzle away.
  92. Final Destination 5
    In Final Destination 5, Death makes the point yet again that it will not be cheated. And happily for those of us who enjoy the FD series' grotesquely clever premise beyond reason, unfortunate folks still refuse to pay attention, with inventively dire consequences.
  93. No Strings Attached
    Adam is cute and all, but the real strings worth tying are those that bind this sisterhood of sharp, interesting, sexually active women together. Where's THEIR starring movie?
  94. Closed Circuit
    It has a chillingly matter-of-fact cynicism that is very au courant.
  95. A.C.O.D.
    Adam Scott has a controlled, almost overly impeccable charisma. Handsome, with small precise facial features, he has a witty, hiply downcast delivery that, on screen, can make him seem like a unit unto himself.
  96. Holidays
    Some of the films are haunting, some of them more macabre, but all of them play with holiday symbolism in way that will make viewers rethink a lot of their favorite celebrations.
  97. Hellraiser III: Hell on Earth
    Mostly about the prospect of getting your skin ripped by fishhooks.
  98. For Colored Girls
    Perry has taken Shange's feminist word-and-movement portraits of disenfranchised African-American women and turned those howls into...a maddeningly choppy mess of a Tyler Perry movie.
  99. 101 Dalmatians
    But when it comes to that great puppy pilgrimage, the movie, which was written and produced by John Hughes, falls astoundingly flat.
  100. Armored
    Alas, Armored is one predictable and forgettable movie that should consider itself very lucky not to have gone straight to DVD.
Page:

Top Trailers

See all »
See all trailers »