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. Hit and Run
    The dialogue veers into digressions about ADHD, the cruddiness of mainstream dog food, and much else. That these asides prove more fun than the central action is what gives Hit & Run its flavor: tasty at times, even if the film evaporates as you watch it.
  2. Bel Canto
    Director Paul Weitz is mostly known for lighter, more observational stories like "About a Boy" and "Mozart in the Jungle," and the strongest moments in Bel Canto are the small ones.
  3. Freeheld
    For all its clumsiness, the story resonates—and the photos that run over the final credits are a poignant reminder of the real life, not just the political legacy, that Laurel left behind.
  4. Eat Pray Love
    If only Roberts' warmth, coupled with Javier Bardem's scruffy sexiness as Felipe, were enough to compensate for the folded-map flatness of this production.
  5. Shaft
    If nothing else, Shaft is spicy fast food.
  6. Planet of the Apes
    Are there surprises? A couple of big money ones, notably the ludicrous would-be jaw-dropper of a finale.
  7. The Rules of Attraction
    The cast is a pitch-perfect assemblage of pretty young things, but James Van Der Beek, as a slit-eyed dorm stud, proves that he can be an actor of cruel force.
    • 50 Metascore
    • 100 Critic Score
    Bill & Ted's Excellent Adventure
    Delightfull time-travel comedy.
  9. 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.
  10. Hoffa
    The most irritating thing about Hoffa is that even after you've sat through Danny DeVito's turgid, meaninglessly sprawling account of the Teamster boss' rise and fall, you still won't have any idea who Jimmy Hoffa was.
  11. Jurassic World Rebirth
    Jurassic Park Rebirth is one of the more successful and satisfying entries in the franchise precisely because it, uh, finds a way to keep Loomis’ mantra close, foregrounding the film’s sense of wonder above a mere blatant cash grab.
  12. The Hunt
    The Hunt stuffs a satire grenade down America’s pants, hoping the shrapnel spreads from sea to shining sea. The explosion is messy, but it sure is an explosion, with a brisk hour-and-half runtime full of violent twists and cackling turns.
  13. Little White Lies
    The trouble with Guillaume Canet's French gloss on "The Big Chill" is that it has no underlying chill.
  14. War on Everyone
    Crass, senseless, and relentlessly talky, War on Everyone mostly seems like a movie at war with itself.
  15. No Reservations
    It's fun to see the glamorous actress turn down her movie-star flame, but it's a pity she's stuck with so many trite gestures on Kate's journey to fulfillment.
    • 50 Metascore
    • 91 Reviewed by
      Ty Burr
    Honey, I Blew Up the Kid
    Honey has enough charm, good humor, and wry gut laughs to smooth over the dull patches and flaws in logic.
  17. The Equalizer 2
    Apart from the film’s occasional spasms of rousing, lightning-choreographed ultraviolence (a confrontation with an apartment full of date-raping finance bros is particularly great), the film is too enamored with its own morose righteousness to be very engaging.
  18. Life After Beth
    The premise would make for a great Funny or Die video, but stretched out to feature length, it runs out of ideas pretty quickly. Still, Plaza is terrific. She commits so fully to her rabid, Romero-esque alter ego, she chews the movie up.
  19. Introducing the Dwights
    Sometimes Brenda Blethyn is content merely to nibble the scenery. In Introducing the Dwights, a drippy Australian family comedy caper, she chomps it to a pulp until we long for her straightforward monstrosity as a mother in "Little Voice."
  20. Ice Age: Dawn of the Dinosaurs
    The movie settles into a mode of nice, sweet, safe, and -- sorry, I have to say it -- slightly dull family fun.
  21. Snow White
    That balance of giving the audience the story they know so well but with just the right amount of newness and unpredictability is the true magic of Webb's Snow White.
  22. The Brothers
    Passionate and saucy comedy.
  23. Flawless
    It says a lot for Joel Schumacher's Flawless that you can see the picture's high-concept heart a mile away and still be won over by it.
  24. Mama Africa
    It understands, in a way that speaks forcefully enough about the mechanisms of poverty to transcend the rather simplistic filmmaking.
  25. Tombstone
    If only director George P. Cosmatos (Rambo) knew how to do something with cliches other than throw them into the pot and stir. A preposterously inflated 135 minutes long, Tombstone plays like a three-hour rough cut that’s been trimmed down to a slightly shorter rough cut.
  26. Don McKay
    The premise of the short-story-size comic thriller Don McKay is as thin and crumbly as a corn chip.
    • 50 Metascore
    • 58 Critic Score
    Fat Man and Little Boy
    There is scarcely a performance in Fat Man and Little Boy that is less than commendable. Almost every scene is thoughtfully and tastefully (though not imaginatively) devised. But the characters and shots do not work together to tell a story. Instead, we get a bunch of inconclusive vignettes.
  28. Eurovision Song Contest: The Story of Fire Saga
    If it all feels like less than the sum of all that wig glue and flop sweat and silver lamé — and far short of Ferrell's best — it's also still the kind of movie that frankly, the lowered expectations of These Times are made for: Not a new song or even a very good one, but somehow still enough to hum along.
  29. Zus & zo
    The title translates, roughly, as ''This & That,'' a confectionary shrug that pretty well sums up the blasé inconsequentiality of it all.
  30. The Crocodile Hunter: Collision Course
    The mad genius of this cheerily bonkers feature is the integration of a documentary-style safari into an outlandish fiction involving a fancy-pants CIA pursuit of a downed spy satellite, and a shotgun-wielding outback widow.
  31. Duplex
    Runs into construction problems, maybe from too many foremen. DeVito favors pushy slapstick; Stiller prefers hotshot sarcasm. Barrymore's comic talents are wasted; she's there for decoration.
  32. Face
    Face becomes a study of the immigrant embrace of freedom in America - a bridge built over time and generations.
  33. Going in Style
    A lazy hash of cheap geezer gags and spoon-fed sentiment.
  34. Passenger 57
    In a few of the action sequences, director Kevin Hooks evokes the entertaining preposterousness of the James Bond series. Still, as high-wire action melodrama Passenger 57 is almost laughably implausible.
  35. Prom
    Will Miss Perfect fall for the Leader of the Pack? It helps that he's played by Thomas McDonell, who's not only a dead ringer for the young Johnny Depp but also has a comparable charisma.
  36. Last Night
    Last Night is on to something fascinating. It meditates on the meaning of adultery: the purposes it serves, beyond sex.
  37. How to Talk to Girls at Parties
    What saves it is the casting (Fanning especially is fantastic, both winsome and wonderfully strange) and Mitchell’s obvious fondness for his milieu. His giddy, knowingly camp direction has a sort of glitter-stick DIY spirit that keeps the movie aloft long after the story itself has run out of road.
  38. The Guilt Trip
    The Guilt Trip is not about Rogen, bubbeleh. Streisand is her own once-in-a-lifetime trip, looking gawjuss with that divine voice and those killer fingernails, and the sight of the lady scarfing down four pounds of beef at a Texas steak joint is one a Streisand lover can now cross off her bucket list.
  39. American Ultra
    Check your brain at the popcorn-butter pump in the lobby and enjoy it.
  40. 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.
  41. Management
    Isn't it time Steve Zahn grew up? Ever since the '90s, this walking quirk of an actor has pushed his dazed solipsistic zaniness (he's like Michael J. Fox’s hillbilly cousin), but he's 41 now, and it no longer looks cute on him.
  42. The Boss Baby
    Like many DreamWorks movies, The Boss Baby‘s most imaginative moments are the random asides.
  43. Nothing Like the Holidays
    The troubles are broad, the plot twists giant, and the performances cheery in this carol to ethnic pride in Chicago's traditionally Latino Humboldt Park.
  44. Murder by Numbers
    Even though Bullock engages in a climactic scene of blue-screen peril, she essentially cedes the match to the kids. In this mediocre murder case, their presence is the only thing that's really killer.
  45. A Perfect Murder
    I've seen far worse thrillers than A Perfect Murder, but the movie is ultimately more competent than pleasurable.
  46. Pirates of the Caribbean: At World's End
    Knightley's Elizabeth becomes a pirate captain this time. You know a franchise has run its course when it has a buccaneer heroine who looks as if she'd hate to get her face smudged.
  47. Madea Goes to Jail
    It's a tale soggy with the kind of race/class lessons that Madea, the director-star's battle-ax alter ego, doles out far more handily (and entertainingly) in a single church-lady-from-hell zinger.
  48. How About You ...
    As the reigning inhabitant, Redgrave adopts the swanning gestures of Maggie Smith in this mild adaptation of a Maeve Binchy story.
  49. Boundaries
    It all bumps along, as road trips do, through silliness and boredom and occasional, unexpected charm. But Feste’s story never really gets the rhythms right, and Boundaries finally reaches the end of the road, feeling like nothing so much as a missed opportunity.
  50. The Stoning of Soraya M.
    The Stoning of Soraya M.'s drawn-out torture sequence is harrowing and lurid.
    • 50 Metascore
    • 75 Critic Score
    Trash
    The child actors are all charming and refreshingly un-child-actory, and Martin Sheen is good as gruff, hard-drinking priest.
  52. After the Wedding
    If the script’s epiphanies don’t feel quite as shocking or profound the second time around, it’s still pleasing to watch these beautiful, troubled people move through their equally beautiful spaces: something borrowed, something blue — and with Freundlich’s careful alterations, something new.
  53. Fur: An Imaginary Portrait of Diane Arbus
    Shainberg reduces this most disturbing of all photographers to a portraitist of Halloween.
  54. Conspiracy Theory
    You're set up for when director Richard Donner -- who worked with Gibson on all three audience-pleasing Weapons -- switches the movie from a really interesting, jittery, literate, and witty tone poem about justified contemporary paranoia (and the creatively unhinged dark side of New York City) to an overloaded, meandering iteration of a Lethal Weapon project that bears the not-so-secret stamp of audience testing and tinkering.
  55. The Campaign
    Perhaps the best thing about the film is that it doesn't let those other players in the political process off the hook: the voters.
  56. 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.
  57. Ticket to Paradise
    There's no doubt both actors deserve sharper, less silly material than this, but when they're playing beer pong in a Bali bar and drunkenly pogo-ing to House of Pain's "Jump Around," Paradise is almost, for a moment, a place on Earth.
  58. Garage Days
    There's something uniquely embarrassing about a rock & roll fable that is no more authentic (and no less coy) than an episode of ''The Monkees'' yet insists on presenting itself as the epitome of rebel-yell cool.
  59. Letters to Juliet
    Redgrave shimmers like one of Tuscany's magnificent cypress trees as an Englishwoman searching for Lorenzo (Nero).
  60. The Island
    The Island begins with a whimper of interest as a cool-hued, cautionary exploration of the ethics of cloning, and ends, in a hail of product placement, with a dumb bang.
  61. Lottery Ticket
    If Lottery Ticket had as much conviction as laughs, it could have hit the jackpot.
  62. The Ten
    Devious and inspired enough to juice you past any weak spots. Thou shalt be amused.
  63. 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.
    • 50 Metascore
    • 67 Critic Score
    Blast from the Past
    As pleasantly plastic as its retro-chic sets.
  65. My Super Ex-Girlfriend
    It's "Bewitched" meets "Fatal Attraction," with one funny bedroom scene, but it was a miscalculation to make Thurman the antagonist.
    • 50 Metascore
    • 67 Critic Score
    Step Up 2: The Streets
    In a sequel that features the original's Channing Tatum only in cameo, a Baltimore teen (Briana Evigan, very winning) enrolls at an arts academy, leaving her street-dancing pals behind. So far, ho hum. But when she decides to form a new crew with her classmates, Step Up 2 the Streets improves considerably -- and it doesn't skimp on cool pretzel moves.
  67. Welcome to the Rileys
    Rileys has been casually dubbed "Kristen Stewart's stripper movie," but the handle doesn't stick: Stewart may wear skimpy clothes and grind once or twice from the neck down, but from the neck up she's all hollow, bruised eyes, twisted little mouth, and classic, coltish K-Stew rebellion.
    • 50 Metascore
    • 58 Critic Score
    Charly
    The premise is certainly alluring. But director Ralph Nelson and screenwriter Stirling Silliphant make a multitude of jaw-dropping choices.
    • 50 Metascore
    • 33 Reviewed by
      Ty Burr
    Runaway
    Starts with savvy concepts (televised mind control and man’s reliance on robots, respectively) and quickly devolves into sour, overwritten diatribes.
    • 50 Metascore
    • 25 Critic Score
    Deterrence
    The plot twists fall about as weightily as the fake snow.
  71. Home on the Range
    The conservatively cheery artistic style suggests that the animation team has been reading Sundance merchandise catalogs.
  72. Poseidon
    It's a buoyant, old-wave disaster pic for a generation of well-conditioned thrill seekers charmed by the revelation that Richard Dreyfuss really is the Red Buttons of our day.
  73. Now You See Me
    At times, Now You See Me suggests Christopher Nolan's "The Prestige" made with a throwaway wink.
  74. Wide Awake
    The movie actually makes you long for the rockin’ entertainment value of a good catechism session.
  75. Guarding Tess
    There are no big thrills, only gentle laughs in this light story by Hugh Wilson and Peter Torokvei (Wilson also directed).
  76. The Education of Charlie Banks
    Ritter, who's like the young Ethan Hawke on a bender of violence, is an actor to watch.
  77. The Other Boleyn Girl
    A classy romantic cocktail distinguished by its tart yet breezy bite.
  78. Prince of Persia: The Sands of Time
    This is what a videogame movie looks like now.
  79. Dark Skies
    While there are some scares along the way, Stewart foolishly gives away the whole kit and caboodle plot-wise with an opening quotation from Arthur C. Clarke.
  80. The American Society of Magical Negroes
    American Society can’t decide whether to go full biting satire or charming rom-com, and as a result, it fails to do either genre justice.
  81. A Dog's Way Home
    Heartwarming, mildly funny, and occasionally thrilling without ever being anything more than just fine.
  82. Sugar Hill
    Sugar Hill wants to tear up our insides, but I’m afraid the movie leaves us hooting with disbelief instead.
  83. Cowboys & Aliens
    Cowboys & Aliens has fun moments, but it's a plodding entertainment because it mostly tastes like leftovers.
  84. The Purge: Anarchy
    When the situation is played totally straight, as it is for eighty percent of the running time, the message is boring: We'd all commit murder, theft and anarchy if only we could. With a narrative as depressively simplistic as that, we do find ourselves identifying with the characters in the movie—counting the minutes until the Purge is over.
  85. Blonde
    The main thing the movie misses in portraying Marilyn solely as a tragic sex bomb isn't just the pleasure that Monroe herself brought to millions, but de Armas's inner light too. The spark and vitality so evident in previous projects like Knives Out and No Time to Die has been smothered down to one note: walking wound. What's left is mostly empty iconography and a few indelible images, a bombastic curiosity wrapped in the guise of high art. Some like it cold.
  86. Mickey Blue Eyes
    Never lets Grant develop his pidgin-Italian nice-guy-gone-sociopath routine.
  87. Where the Money Is
    I don't know that Where the Money Is would work at all were it not for what we, the audience, bring into the theater.
  88. The Four Feathers
    It may be an accidental historical parallel that, at times, we seem to be watching a 19th-century version of ''The John Walker Lindh Story,'' but the fluke is only enhanced by the weird anonymity of Ledger's performance.
  89. B. Monkey
    You may roll your eyes a bit at the glib, transparent, indie-grunge romanticism.
  90. Alfie
    The new Alfie is so irresistible that he hardly requires contempt. Without it, the movie is little more than a feature-length roll in the hay.
  91. Behind Enemy Lines
    We, the people, are meant to cheer in response, but the spirit isn't willing. War is hell, but so is peace -- at least when it comes to movies in a no-man's-land like this one.
  92. DragonHeart
    Instead of being drawn into Dragonheart‘s tale of swords and sorcery, I frequently sat there thinking things like Gee, I wonder how much time it took Connery to record his lines. It’s too bad, because in other respects Dragonheart is a corker.
    • 49 Metascore
    • 58 Critic Score
    Magic
    From the start, Hopkins forgoes the subtle route and heads straight over the top, squeezing what fun there is out of William Goldman’s humorless script.
  94. Things Heard & Seen
    The movie marches on in grim, silly lockstep to its themes: a compendium of jump-scare terrors almost exhaustively heard and seen, but rarely calibrated to make you feel much of anything at all.
  95. Black Christmas
    A sort of forgettable Christmas wisp, a black-hearted jingle bell only half-rung.
  96. Cassandra's Dream
    Allen's latest, Cassandra's Dream, is one of his debonair ''small'' entertainments, the closest that he has come to doing a tidy, no-frills, down-and-dirty genre thriller.
  97. Chloe
    The film is Moore's story, and she acts the hell out of one sexy scene, but most of Chloe is plodding and drab.
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