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. Straw Dogs
    The original "Straw Dogs," at least to me, isn't close to being one of Peckinpah's masterpieces, but it's a movie that the people who first saw it still remember 40 years later. I doubt that anyone will remember the new one by next month.
  2. The Thing
    The other thing The Thing has got going for it is a welcome hint of dour Scandinavian sensibility sneaked in by director Matthijs van Heijningen Jr. whenever there's a pause in the unexceptional antics of aliens consuming humans.
  3. Bernie
    All those twangy, homespun observations interrupt and annotate the narrative until Black and MacLaine's scenes start to feel as trivial as reenactments on a true-crime TV show.
  4. Damsels in Distress
    Gerwig can't make her character come alive, though, and neither can Adam Brody as one of their neediest male cases. In the midst of the froufrou, lovely, stalklike Analeigh Tipton (Crazy, Stupid, Love) is delightful as a student who enjoys being normal and living in this century.
  5. The Grandmaster
    Tony Leung plays Ip Man with his old-movie charisma and reserve, but the film, despite a few splendid fights, is a biohistorical muddle that never finds its center. Maybe that's because — big mistake! — it never gets to Bruce Lee.
  6. In Time
    The movie, I'm sad to report, has a majorly disappointing follow-through. It turns into a noisy, squalling chase movie.
  7. Happythankyoumoreplease
    With very little modification, the relationship woes of the six chirpy young New Yorkers in this self-absorbed indie could be reworked into episodes of TV's "How I Met Your Mother."
  8. Tower Heist
    Tower Heist is the cinematic version of a Trump property: overblinged, eye-catching, and essentially tacky.
  9. Snow White and the Huntsman
    A tastefully overbearing franchise fairy tale with a handful of ravishing touches.
  10. There Be Dragons
    Florid, convoluted historical drama.
  11. Johnny English Reborn
    Fans of sophisticated humor may feel empathy with, if not sympathy for, the lead character on those many occasions he is kicked in the nuts.
  12. Big Miracle
    Big Miracle is harmless enough, but what's annoying about it is its aura of fake activism. The movie doesn't seem to get that it's exactly when the news media began to devote more time to subjects like whales that it started to turn into news not for activists but for couch potatoes.
  13. 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.
  14. Abraham Lincoln: Vampire Hunter
    With so much flesh crunching and bloodletting, it could have been scary as all Walking Dead get-out. Instead, the movie plays safe by cutting every theme down the middle - a swing that's effective when splitting wood or vampire skulls, but dull when applied to filmmaking.
  15. Ted
    And yet. And yet, Gawd help me, the always surprising Mark Wahlberg throws himself into his thespian adventure with such radiant wacko energy, so full of Boston beans, that Ted is also kind of, well, impressively nuts.
  16. Mirror Mirror
    A dull and unbewitching movie.
  17. The Croods
    A handful of adrenalizing sequences of animated anarchy can't save this story from feeling overly primitive.
  18. The First Grader
    Plays more like a teaching tool than a dynamic drama.
  19. The Perfect Host
    For a while, the movie has a cat-and-mouse appeal - it's like "Hard Candy" crossed with a smaller-scale "Deathtrap." Pierce acts with an enjoyably testy flamboyance, but by the time he starts to imagine that his guests have arrived even though dinner's been canceled, the film has given him one loose screw too many.
  20. The Devil Inside
    While this religio-horror effort does contain some nice scares, and a memorably unnerving turn from Crowley, The Devil Inside's biggest shock arrives when it abruptly ends - just as it hits its stride. The result is a found-footage movie whose third act remains missing.
  21. Safe
    Safe has more action than intrigue (or logic), and it's boilerplate vicious. It may satisfy Statham's fans, but they - like he - would do well to enlarge their expectations.
    • 18 Metascore
    • 58 Critic Score
    Movie 43
    At its best, Movie 43 resembles a risqué episode of Saturday Night Live - a comparison reinforced by the presence of both parody ads and Jason Sudeikis. At its worst? Let's just say that Hugh Jackman fans who want to remember the actor as Jean Valjean and not as a guy with a scrotum sprouting from his neck should make alternate plans this weekend.
  23. Gone
    Which stinks worse? The absurdly large pile of red herrings Gone amasses? Or the film's sub-Scooby Doo conclusion?
  24. In the Land of Blood and Honey
    In the Land of Blood and Honey captures the sickening way the war in Bosnia became a gray zone of genocide. Yet that, unfortunately, is not enough to make it a good movie.
  25. Oz the Great and Powerful
    The film is stuffed with three endings too many. You can't blame Raimi for wanting to give us our money's worth. But after a while, you just want him to get to the Happily Ever After already.
  26. The Lone Ranger
    The action climax just goes on and on, making The Lone Ranger the sort of movie that delivers too much too late and still manages to make it feel like too little.
  27. Oblivion
    Oblivion has enough special-effects artistry to keep you distracted for a while. But all the eye candy in the world can’t mask the sensation that you’ve seen this all before…and done better.
  28. R.I.P.D.
    While he's (Bridges) having more fun than anyone in the audience is likely to be having, it's such a rip-snorting go-for-broke performance that it almost makes R.I.P.D. worth the price of admission. Almost.
  29. The Tree
    A symbol of the lost father, it looms, protects, and also wreaks havoc when a big branch collapses onto the house. Mostly, it's the expression of a movie that's content to stand still.
  30. Carnage
    In such an audience stroker, where casting is everything (on Broadway, James Gandolfini brought exciting menace to the role of Mr. Longstreet), Winslet and Waltz jell while Foster and Reilly flounder, unable to make sense of what kind of people they're supposed to be.
  31. The Grey
    You see the pattern here? Winter-release slot + travel budget + Liam Neeson = slightly preposterous, routinely violent, apparently lucrative action movie in which the Irish-born star signals inner emotional conflict with his handsomely mashed boxer's face while settling outer physical conflict with his boxer's fists.
  32. The Double
    The twist in The Double slack mystery-thriller is revealed with a shrug about a third of the way in. After that, it's all about Gere looking grim, and Grace looking stricken as he learns what we already know.
  33. After Earth
    The movie takes off from a concept as basic as a videogame, and it sticks to that concept, without surprise.
  34. Loosies
    A harmless crime caper. It stars Peter Facinelli (Nurse Jackie, the Twilight series), who also wrote the script, shaping the movie to his facile, unlayered charm.
  35. 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.
  36. Tyler Perry's Temptation
    A few wild, third-act twists give Perry's middling melodrama some soap-opera kick. But all the finger-wagging sure does get tiring after a while.
  37. To the Arctic
    Filmmaker Greg MacGillivray, a specialist in gigantic-screen nature movies including "The Living Sea," is up to date in his use of 70mm IMAX film, but he's stuck in the past about how to tell a story.
  38. 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.
  39. 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.
  40. Teenage Mutant Ninja Turtles
    Turtles is head-and-shell better than "Transformers." Cowabunga?
  41. People Like Us
    People Like Us demonstrates how a drama can be heartfelt and bogus at the same time.
  42. Noah
    Noah is a movie about big ideas (environmentalism, heavenly obedience versus earthly love) and even bigger directorial ambitions (how to tell a personal story on the grandest of grand scales). But, in the end, it's also a disappointment. Maybe not one of Biblical proportions, but a disappointment nonetheless.
  43. Sin City: A Dame To Kill For
    The overall effect is less titillating than numbing.
  44. Where Do We Go Now?
    The movie gets mired in these deceptive mechanics. It shows no curiosity about the hatred, so the characters seem less than whole.
  45. The Babymakers
    This comedy about a couple who can't get pregnant is stuck between Judd Apatow's humane raunchiness and the American Pie series' smirky broadness.
  46. Goats
    Ellis (The Good Wife's Graham Phillips), an alienated teen, smokes weed and hangs out with a goat-obsessed, pot-cultivating surrogate father (David Duchovny, hidden by hair). New Age details aside, though, Ellis is easily identifiable as a distant cousin-by-genre to J.D. Salinger's Holden Caulfield.
  47. Nobody Walks
    Russo-Young studies the strange species of affluent Angelenus erectus under a microscope that distorts every character into unbelievability.
  48. For Ellen
    The drama is so minimalist that it's hard to glimpse the man behind the woe.
  49. The Oranges
    What starts off as a neighborhood scandal becomes a liberating thing for everyone involved - an attitude that seems as if it's trying to be oh so European, and might have been had the director, Julian Farino, not been working so hard to convince us of the Deep Inner Goodness of everyone involved.
  50. Universal Soldier: Day of Reckoning
    Consider this a public service announcement: Folks who have a problem with onscreen flesh-hacking - or the fact that franchise stars Jean-Claude Van Damme and Dolph Lundgren aren't in the movie all that much - should stay home.
  51. Minions
    If Minions were a toy, you’d hide its batteries.
  52. Rio 2
    There are fun moments, especially with Kristin Chenoweth’s vampy poison dart frog. But with more evolved films like "The LEGO Movie" and "Frozen" in the animated ecosphere, overstuffed and gag-reliant time-passers like the Rio movies feel like a dying breed.
  53. Ride Along
    Hart's exasperated dervish shtick has moments of real live-wire anarchy, including one priceless gag at a firing range. Will it be enough to make Hart a household name? Maybe. But both he and his fans deserve better.
  54. The Last Exorcism Part II
    Unfortunately, no one involved seems to have bent over backwards to make the movie either original or even all that scary.
  55. Baggage Claim
    Paula Patton is such a terrific actress that even in the ultra-tacky romantic comedy Baggage Claim, she gives a luminous, thought-out performance, not just walking through but digging into the role of an eager, nervous doormat with a people-pleasing grin.
  56. The Company You Keep
    Shia LaBeouf, who appears to be on hand to prove that a movie with a crusading newspaper reporter can still exist, perks up his scenes, and Redford acts with his usual hyperalert, placid control.
  57. Jupiter Ascending
    Jupiter Ascending’s early cleverness dries up quickly, especially when Kunis is offscreen, leaving us with just another incoherent sci-fi spectacle.
  58. Riddick
    At a time when the budgets for sci-fi films are, like the universe itself, expanding at an astronomical rate, Riddick decides to go small.
  59. One Direction: This Is Us
    We're treated to what's essentially a slick, airbrushed promo reel of a bunch of genuinely sweet superstars who can't believe their dumb luck. That's charming. But it's also a little boring. What it's most definitely not is a documentary.
  60. Pompeii
    Most of the film is a chintzy but watchable B-movie knockoff of "Gladiator," with Kit Harington, the English actor from "Game of Thrones," mustering very little in the way of facial expressivity in the role of Milo.
  61. Sex Tape
    It's clumsy and wacky and intermittently amusing, and Rob Lowe looks like he's having a great time playing Real-Life Ned Flanders With a Deeply Weird Side once again.
  62. Fury
    Pitt, for instance, could've used a scene like Tom Hanks' in "Saving Private Ryan," where we learn something — anything — about his life back home and what he's fighting for besides the Stars and Stripes. Instead, Fury (the title comes from the name of the tank) just plods from one brutal, bloody combat scene to the next.
  63. Venus in Fur
    What is surprising is how little Polanski juices the material with his usual devilish touch.
  64. That Awkward Moment
    Sit tight through the end credits and you'll be treated to a few off-the-cuff outtakes of the guys doing things much funnier than anything in the film itself.
  65. Dolphin Tale 2
    This is innocuous, heart-in-the-right-place family fare, but its well-earned points about animal rights and preservation would be better taken if the relentless sentimentality didn't force viewers into flippers-in-the-air submission.
  66. Mood Indigo
    A movie so stuffed with eccentricity, it rips at least a couple of seams.
  67. Ted 2
    The sequel still manages to walk the tightrope between clever and crass. For a while, at least.
  68. Under the Skin
    As a film, Under the Skin is hauntingly freaky and ultimately frustrating. But as a movie star's gamble to be seen as more than just a moneymaking member of the Marvel universe, it's a home run.
  69. Son of God
    At best, this version succeeds as a Sunday school supplement. But the blandness is enough to make you long for Mel Gibson's "The Passion of the Christ."
  70. Victor Frankenstein
    Only Radcliffe escapes unscathed, lending Igor a convincing psychology despite the ham-fistedness of the material. But he’s not enough of a reason to resurrect this story again.
  71. Insidious: Chapter 3
    Insidious Chapter 3 is the worst kind of sequel: Not terrible, but also cartoonishly unnecessary.
  72. Sabotage
    You won't respect yourself in the morning, but you might have some dumb, lizard-brain fun.
  73. Tyler Perry's The Single Moms Club
    As with most of his films (Madea-centric and otherwise), subtlety isn’t Perry’s strongest suit. He tends to hammer his audience over the head with canned sentimentality, lazy stereotypes, and easy uplift.
  74. The Boy Next Door
    Boy's premise reeks of stalker-movie mothballs, and it's too timid to fully dive into the high camp it hints at. Instead, this cookie just crumbles.
  75. Justin Bieber's Believe
    When the movie occasionally does confront its hero’s foibles, its answers are disappointingly pat.
  76. The Gunman
    Sean Penn doesn’t make movies very often these days. So when he does, you go in with certain expectations. Sadly, it’s best to leave them at the concession stand if you’re planning on enjoying The Gunman.
  77. Dark Places
    It’s never pushed far enough. Instead, Dark Places just becomes an overstuffed, low-simmer potboiler with too many improbable detours and overly convenient twists.
  78. The Homesman
    With her sad, haunted eyes and ''plain as a tin pail'' looks, Swank is by far the best thing in the movie. More than most actresses, she seems unburdened by vanity.
  79. The Hateful Eight
    The Hateful Eight doesn’t have enough ideas. Set almost entirely in a snowed-in saloon, the story’s so spare it doesn’t warrant either its three-hour running time (including an overture and intermission) or his use of 70mm projection. It’s narratively and visually claustrophobic.
  80. The Sleepwalker
    The setup has mysterious promise, but the film cheaps out on a satisfying payoff.
  81. Batman v Superman: Dawn of Justice
    I get that this mano a supermano story line is a sacred text among comic-book aficionados, but Dawn of Justice doesn’t do the tale any favors. It’s overstuffed, confusing, and seriously crippled by Eisenberg’s over-the-top performance.
  82. Camp X-Ray
    The depiction of Guantánamo Bay as a banal, ugly hole of a place waiting to be condemned makes for a compelling first half hour in this military drama.
  83. Monster Trucks
    The final result is… rather unspectacular.
  84. The Peanuts Movie
    The film disappointingly ditches the cartoonist’s modest visual formula for a photorealistic 3-D playground courtesy of the animation studio behind "Ice Age."
  85. Words and Pictures
    It’s a rom-com setup lamer than anything in the Barrymore-Sandler canon, but Binoche and Owen tackle it like high drama and eke out a few sweet moments.
    • 59 Metascore
    • 58 Critic Score
    For a Woman
    The acting is largely irreproachable, but the direction is leaden, and the movie just can’t overcome its clunky framing device and nagging air of inauthenticity.
  87. Point Break
    Director Kathryn Bigelow is one of the new-style action wizards who’ve never quite mastered the nuts and bolts of telling a story.
  88. The LEGO Ninjago Movie
    Credit is due to Jackie Chan, who gives his all to make Ninjago work.
  89. The Crow
    Lee's performance is by far the best thing about The Crow. Unfortunately, he's just good enough to make you wish that the movie had had a whisper of storytelling invention to go along with its showy visual design.
  90. A League of Their Own
    From its jokey, one-note characters to its endless baseball montages, A League of Their Own is all flash, all surface.
  91. American Sniper
    Clint Eastwood's American Sniper is a film that evokes complicated emotions. A month after seeing it, you might still be wrestling with whether it's powerful, profound, or propaganda.
  92. Teenage Mutant Ninja Turtles: Out of the Shadows
    So while Out of the Shadows may not be any smarter than the first installment (or really all that smart at all), it’s certainly a lot more fun.
  93. Rock the Kasbah
    Your enjoyment of all this will probably depend heavily on your willingness to let the words romp and Taliban coexist for approximately two hours. The movie itself is slight and sometimes outright offensive, though it’s also intermittently amusing and not entirely unself-aware.
  94. The Keeping Room
    A pretty average siege thriller. I’m positive there’s an audience for an Old West tale about fierce, independent women. I’m equally positive it can be done better.
  95. Beloved Sisters
    It only makes you wish for the unintellectual bodice ripper that the movie should have been.
  96. The Disappointments Room
    There simply aren’t enough scares to build tension throughout.
  97. Hitman: Agent 47
    In this post-"Mad Max: Fury Road" action movie age, “occasionally bonkers” just doesn’t cut it anymore.
  98. Jem and the Holograms
    As silly and sometimes nonsensical as it is, the movie is surprisingly sweet and well-intentioned.
  99. Justice League
    First, the good news. Justice League is better than its joylessly somber dress rehearsal, Batman v Superman: Dawn of Justice. Now the “but”…you knew there was a “but” coming, right? But it also marks a pretty steep comedown from the giddy highs of Wonder Woman.
  100. The Flash
    Rather than the beginning of a cool, new idea, The Flash now feels like it should be the last word on movie multiverses.
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