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. Wilson
    Wilson has some deliciously awkward laughs thanks to Harrelson’s curmudgeonly, childlike performance, but it zips right along without ever landing any emotionally resonant blows.
  2. Escape Plan
    Schwarzenegger, for one, seems to be having a hoot.
  3. Sleepers
    By the end, the main thing that's been abused is the audience's intelligence.
  4. Nabbeun namja
    Really, who needs a bad guy who's this guilty about being bad?
  5. Guess Who
    Guess Who, with its PG-13 putdowns, turns into the kind of love story that Hollywood feels most comfortable with: a buddy movie, salt-and-pepper variety. All that's missing is the cop car.
  6. Sex Drive
    Seth Green is uproarious as an Amish farmer who speaks in sentences so passive-aggressive, they're like tiny slaps.
  7. Daddy's Little Girls
    This latest market-savvy bit of circuit preaching is less cartoonish than Perry's previous big-tent revival meetings.
  8. Addicted to Love
    Commits the cardinal sin of too many modern movies: It never gives the audience a clue why any of these people were ever attracted to one another in the first place. [30 May 1997, p. 54]
    • Entertainment Weekly
  9. S1m0ne
    The movie pretends to warn against such shallowness -- but flaunts its arousal at how exciting such a controllable world is for those with access to the software.
  10. The Legacy of a Whitetail Deer Hunter
    After about 10 minutes, The Legacy of a Whitetail Deer Hunter feels borderline promising. After 80, it feels like a blown opportunity.
  11. Death of a President
    The movie IS a provocation, but not a glib or ideologically myopic one.
  12. Lucky You
    Really, all this movie is about is the joy of checks, calls, folds, rivers, and the acquired thrill of knowing what those words mean.
  13. Far and Away
    Far and Away looks like an epic, but it lacks flavor and texture. It's so predigested there's nothing left to chew on.
    • 49 Metascore
    • 50 Critic Score
    The Old Man and the Sea
    Essentially, it’s a slow-moving, low-rent Moby Dick with portentous voice-overs and unconvincing process shots of Spencer Tracy in a studio tank. In fact, why director John Sturges (The Magnificent Seven) bothered to make it remains a mystery.
  15. Edtv
    The fact that Ed's life has been channeled into entertainment never achieves much tension or comic zest. That's because Howard thinks in cookie-cutter ''situations'' to begin with.
  16. The Good German
    The leisure-time viewer will say, ''Hey, this is sort of like "Casablanca," so why play it again?''
  17. Casper
    What’s depressing about the current Hollywood mania to literalize old cartoon series isn’t that a show like Casper is such bad source material. It’s that the movie version is like the cartoon without innocence — a fairy tale with the soul of a rerun.
  18. Demolition
    Jake Gyllenhaal’s wild-card performance is the only reason to bother with "Dallas Buyers Club" director Jean-Marc Vallée’s manipulative downer.
  19. 2012
    God forgive me, but I enjoyed the nerve-racking silliness of this newest, loudest exercise in destruction.
    • 49 Metascore
    • 67 Critic Score
    Great Balls of Fire!
    Winona Ryder is wonderful as the naive child bride. Dennis Quaid, as Lewis, mugs and struts in a colorfully unreal caricature, miming to new Jerry Lee renditions of classic tunes.
  21. Mystery, Alaska
    The enterprise might also be called ''Picket Fences on Ice."
  22. Paid in Full
    A fake street drama that keeps telling you things instead of showing them, though Mekhi Phifer, playing a hustler who loves the life, is electric and true.
  23. The Reckoning
    The Reckoning, with a script by Mark Mills, demands close attention; it's a play of words and ideas crowding for consideration.
  24. Jackpot
    It's as self consciously arty and fragmented as ''Twin Falls'' was controlled and organically built.
  25. Loitering with Intent
    A snappy start gives way to an unfocused second half, which devolves into a walking tour of indie-film clichés that make the 80-minute run time feel overlong.
  26. The Sacrament
    West is a talented director and knows how to build suspense. But here’s a case where the truth wasn’t only stranger than his fiction, it was scarier, too.
  27. Don't Look Up
    Frankly, it's almost enough just to watch them all run around in states that range from manic panic to Zen serenity while McKay employs his usual coterie of meta tricks and treats. But it's hard not to long for the shrewder movie that might have been: Not just a kooky scattershot look, but a deeper truer gaze into the void.
  28. Raymond & Ray
    The whole thing is so airless and hollowly constructed, so full of mimed but unfelt feelings, that it's a relief to put this body in the ground and forever hold your peace.
  29. 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.
  30. Gang Related
    Belushi certainly proves that he can play an uncharismatic lout with conviction, but the talented Shakur is — literally — wasted in his final screen performance.
  31. Queens
    A threadbare crazy-quilt of Spanish sex comedies, Queens wants desperately to be "Women on the Verge of a Big Gay Wedding."
  32. TRON: Legacy
    The sequel, more successfully (if less innocently), injects you into a luminous technological wonderland and asks you to be happy with the ride.
  33. Sidewalks of New York
    It's a veritable Greek chorus of wry therapeutic chatter, the touchy-feely pensées skittering over the stock dualities of adultery and fidelity, lust and devotion, narcissism and intimacy, blah, blah, blah.
  34. The 6th Day
    A bit of a clone itself, but it's got a crackerjack helicopter chase, a semblance of a script, and a sotto voce performance by Robert Duvall as a biotech genius who murmurs sweet nothings to his dying cloned wife.
  35. Final Fantasy: The Spirits Within
    May not tell a great story, but it's a great wow.
  36. 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.
  37. The Fifth Estate
    The Fifth Estate is flawed (it grips the brain but not the heart), yet it feverishly exposes the tenor of whistle-blowing in the brave new world, with the Internet as a billboard for anyone out to spill secrets. Call it the anti-social network.
  38. Starry Eyes
    Horror fans should keep their eyes on the filmmakers — and Essoe, who gives a star-making performance.
  39. My Fellow Americans
    Enthusiastic as one might be that Jack Lemmon has found a new lease on movie life with his Grumpy Old Men series, the funny-crankpots genre wears mighty thin on this road trip.
  40. Coneheads
    As a big-screen comedy, Coneheads isn’t all that funny either, yet it’s blithe and inventive and surprisingly light on its feet.
  41. American Reunion
    American Reunion is about the comedy of middle-class men who can't be satisfied with sex until it looks like porn.
  42. Krampus
    Full credit to director Michael Dougherty (Trick ‘r Treat) because this is great-looking movie, filled with freaky creature designs and a just-right mixture of practical effects and CGI.
    • 49 Metascore
    • 42 Critic Score
    The Sentinel
    Looking back, 1993 was a golden age for thriller cinema. That was the year Hollywood hatched both "In the Line of Fire" and "The Fugitive," the two obvious and way superior antecedents for the very humdrum B-movie mash-up The Sentinel.
  44. Your Place or Mine
    What should be breezy, featherweight fun — Reese! Ashton! A screenplay by the lady who wrote The Devil Wears Prada and 27 Dresses! — instead turns out to be oddly hollow, a meandering and synthetic approximation of classic rom-com canon with too little romance or comedy in its strained, familiar formula.
  45. The Gray Man
    A maximalist action thriller that is almost comically violent, unfailingly glib, and intermittently very fun.
  46. New York, I Love You
    These tales are as highly designed as fashion layouts. But they're as relaxing to thumb through as those NYT Magazine trend pieces.
  47. People Like Us
    People Like Us demonstrates how a drama can be heartfelt and bogus at the same time.
  48. Gerrymandering
    Arnold Schwarzenegger appears as the rare politician who supports reform in this timely exposé of how our democracy has slipped off its tracks.
  49. The Private Lives of Pippa Lee
    The mix is Lifetime soap–meets–Woody Allen smart-set comedy, with less humor and a genteel Connecticut setting.
  50. Jane Got a Gun
    Since the film’s last-minute rewrites, casting switcheroos, and musical chairs behind the camera are irrelevant to the actual quality of the movie, I’ll avoid rehashing them here, save to say that the disarray shows on screen.
  51. Shoot 'Em Up
    Its pulpy violent excess will tip over...into slightly more excessive excess. That's its silly, scuzzball joy.
  52. Broken City
    The truth is that we're way past being outraged by these sorts of Crimes of the One Percent, not because they don't happen, but because the real version is so much more interesting.
  53. Big Bad Love
    Howard luxuriates in writerly misery as Barlow, and the participation of the filmmaker's real-life wife, Debra Winger, as Barlow's ex gives the scenes between the two of them an unfakeable erotic charge.
  54. Good Boy!
    Little is asked of talking-animal movies, save charm, heart, and at least one scene where said animal wears a lampshade. Good Boy! has all those things, plus a winning story line.
  55. The Way of the Gun
    Plays like an unusually ritzy festival circuit audition film, though McQuarrie, it must be said, aces the audition.
  56. The Grudge
    A horror film that consists of virtually nothing but don't-go-in-the-attic suspense scenes strung together with a reasonable degree of brooding mood and a minimum of logic.
  57. Terminator Salvation
    It's basically a zombie movie with machines instead of the walking dead.
  58. The Mummy
    There is much to look at--it's like spending two hours in Michael Jackson's Undead Neverland--but not a lot at stake.
  59. Bohemian Rhapsody
    Maybe unavoidably, the movie that’s emerged from all that has the distinct whiff of compromise and art by committee — the opposite, in other words, of nearly everything Queen’s flamboyant, defiant frontman stood for.
  60. Ice Age: Continental Drift
    The film keeps throwing things at you, like a colorful ape pirate (Peter Dinklage) and a fun hallucination sequence. That said, the laughs are starting to feel prehistoric.
  61. Gladiator
    The fight scenes are vicious, demagogic, and thoroughly exciting.
  62. Hancock
    Hancock can revel in schmuckery, of course, because you and I and cute kids and peaceful oldies worldwide know in advance that there's no way on Hollywood's green earth Will Smith will ever play someone seriously, dangerously unsavory.
  63. Mack & Rita
    Keaton seems to be having a ball with her pratfalls too, though you wish it wasn't all played so silly and flat-out conventional in the end: new broad, old tricks.
  64. Antichrist
    The trouble is, it's all too exhibitionistic to ring true. The impotent folly of Antichrist is that von Trier has made it his mission to shock the bourgeoisie in an era when they can no longer be shocked.
  65. Bullet Train
    Leitch embarks on a series of adrenalized set pieces that defy logic and physics so breezily that its relentless, ridiculous violence plays more like a winsome ballet.
  66. Four Brothers
    Because the script, riddled with verbal ugliness by David Elliot and Paul Lovett, sends the movie to a series of arbitrary nowheres, the final showdown for the Mercer boys and their enemies is just as meaningless and sense-deadening.
  67. Sleuth
    It's like "Deathtrap" crossed with "Cribs" as staged by Stanley Kubrick.
  68. Amsterdam
    The production and costume design are, unsurprisingly, impeccable. But the resolution of the central mystery is both rushed and obtuse, and it all unfolds in a frenetic, flailing whirl of pomp and nonsense that Amsterdam's strange circuitous journey and almost embarrassing surplus of stars never quite justifies: a whirring music-box curiosity in search of some elusive purpose, and a point.
  69. Inventing the Abbotts
    The only real heat among the group comes from Jennifer Connelly, who, as the bad-girl middle daughter, raises the stakes any time she's on screen.
  70. Mars Needs Moms
    The movie is also visually magnificent - modestly so. Plus, it's half the length of "Avatar."
  71. Flannel Pajamas
    The hero remains such an exhibitionistically cocky, walled-off jerk that Flannel Pajamas' glib conversational ''candor'' yields no mystery. And that's a problem in two hours of talk.
  72. Kalifornia
    It's like a film-school thesis gone disastrously wrong.
  73. Downhill
    As an attempt to scale the craggy heights of a marriage in crisis, Downhill may be more bunny slope than black diamond — a force mineure, but still worth the trip.
  74. Harrison's Flowers
    A chintzy melodrama gussied up as hair-trigger combat ''reality,'' but there's no denying the vividness with which the French cowriter-director Elie Chouraqui has visualized the chaos of Croatia.
  75. Harvard Man
    A characteristically engorged and sloppy coming-of-age movie from the filmmaker (''Harvard '66'') who, in his body of work, indulges his fantasies as fetishistically as other men finger their cigars.
    • 49 Metascore
    • 42 Critic Score
    Bedazzled
    A little more script work, at the very least, should have gone into the manufacture of the black comedy Bedazzled.
  77. 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.
  78. Mary Shelley's Frankenstein
    Branagh, for all his craftsmanship, hasn’t succeeded in tapping the morbid core of the material, the feeling that Victor Frankenstein’s experiment in creating ”life” is really a mask for his obsession with death (indeed, he can no longer tell the difference).
  79. The Catcher Was a Spy
    Sadly, it isn’t a great movie. It’s a disappointingly mild period thriller that’s light on thrills. Even Paul Rudd, one of the most likable actors in Hollywood, can’t rescue it.
  80. The Vanishing
    [Sluizer's] original, pitch-black ending would have sent people out of the theater giddy with shock; it’s doubtful anyone will remember his new one long enough to tell their friends.
  81. Little
    The script’s second half drifts, going too soft on teachable moments, but Little still finds its loopy sweet spot: Tom Hanks’ "Big" flipped and recast as pure black-girl magic.
  82. Tristan and Isolde
    Working with an explanatory script by Dean Georgaris, Reynolds is much more confident in scenes of realistic battle, or even muddy marketplace dailiness, than he is with scenes of desire.
  83. Texasville
    The Last Picture Show was a mood piece drenched in acrid despair. Texasville is two hours of flat, Southern Gothic whimsy. The movie has the form of a soaper without the juicy content.
  84. Lord of the Flies
    As a novel, Lord of the Flies never was much more than a Brat Pack Heart of Darkness. It’s doubtful a screen version could be any better than this one.
  85. Insidious: The Last Key
    Aside from one gag in particular, the scares lack any real mechanical knack. The one thing the otherwise forgettable film has going for it is Shaye, who over the course of the Insidious quadrilogy has miraculously created a real flesh-and-blood character with Elise.
  86. I Think I Love My Wife
    I Think I Love My Wife has got to be the unlikeliest French New Wave classic ever to be retrofitted by a famous African-American stand-up comedian best known for his stinging social commentary -- at least until Dave Chappelle remakes Jean-Luc Godard's "Breathless" as a hip-hop caper.
  87. 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.
  88. Cooties
    Neither scary enough to be a horror film nor funny enough to be a comedy.
    • 49 Metascore
    • 25 Reviewed by
      Ty Burr
    Dennis the Menace
    With ”Dennis,” Hughes takes har-de-har brutality to new depths — it’s a movie that seems made specifically to blunt the sensibilities.
  90. Spenser Confidential
    Fists will smash; pecs will flex; hard consonants, like dirty cops, don't stand a chance. It's the only sure thing in this crazy world, kids — except maybe a sequel.
  91. Men in Black II
    Some motion pictures portray ultimate passion; others create ultimate thrills. Men in Black II achieves ultimate insignificance -- it's the sci-fi comedy spectacle as Whiffle-Ball epic.
  92. Around the World in 80 Days
    What's new and nutty, though, is the physical comedy of Jackie Chan as Fogg's manservant.
  93. Father of the Bride Part II
    Sure, Martin and Keaton squander their talents on this sentimental piffle, but it's hard to begrudge these two stars a couple of commercial hits. And oh, those adorable babies at the conclusion! The audience I saw Father of the Bride Part II with loved this big, corny, old-fashioned movie; as crowd-pleasers go, it's a shrewd one.
  94. The Black Dahlia
    The film is more than a little in love with the corruption it finds under the floorboards -- and that, of course, is perfectly dandy. I wouldn't trust a film noir that wasn't enthralled by decadence.
    • 49 Metascore
    • 50 Critic Score
    The Ultimate Gift
    Kind of like a feel-good "Saw" for churchgoers, minus the sadistic games of death.
  96. Species
    It doesn’t help that the special effects are second-rate; the squishy primal horror of Alien has been replaced by a kind of mechanized yuckiness. The team of B-movie scientists tracking the monster includes Ben Kingsley doing his over-deliberate American accent, Alfred Molina sporting a haircut that’s scarier than the creature, and Forest Whitaker as an empath so sensitive he can’t let anyone sneeze without making a dewy-eyed psychic pronouncement.
  97. An Unfinished Life
    An Unfinished Life is inert, kaput -- a middlebrow mush of platitudes rather than an okay corral of distinct characters with heartbeats. It's awful not in an exciting, uncontrolled way but in an overly controlled, narcotized way.
  98. Imagine Me & You
    Congratulations are in order for Rachel's sexual awakening, but we might as well applaud the dull girl for falling in love with the nearest bunch of lilies rather than the florist.
  99. Stalingrad
    Stalingrad is a 3-D epic that's one-dimensional.
  100. The Good Night
    The filmmaker's got good taste -- and luck -- in casting.
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