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. The Children of Huang Shi
    It's like "Schindler's List" crossed with "The Sound of Music," and Roger Spottiswoode directs it in a stiff, lifeless, utterly dated style of international squareness.
    • 49 Metascore
    • 58 Critic Score
    The Family That Preys
    All over the place:It's a boardroom/family/couples/road-trip story.
    • 49 Metascore
    • 58 Critic Score
    Open Season
    The overfamiliar Open Season feels like just another CG 'toon in our 'toon-glutted times.
  4. Lola Versus
    Gerwig is adorable, but that's both good and bad, as the movie can't stop cuing us to see that Lola's winsomeness will rescue her.
  5. The Promise
    Even lush set pieces and a raft of prestige players (including Shohreh Aghdashloo, James Cromwell, and Jean Reno) can’t fulfill the movie’s pretty, ultimately empty promise.
  6. Me, Myself & Irene
    Every instance of gleeful bad taste is timed and positioned for maximum, liberating laugh value.
  7. Zhou Yu de huo che
    The movie follows convoluted narrative tracks. By the end of the drowsy journey, the characters are indistinguishable from the scenery.
  8. The Thorn in the Heart
    But overall, this lazy, sweet trifle seems to express the banality of well-being.
  9. CB4
    CB4 would like to be a savage hip-hop lampoon, but, in fact, the film strikes a cautious balance between satire and homage. It can’t decide whether it wants to ridicule CB4 or hold the group up as role models. What we’re left with is a soggy catalog of rap cliches.
  10. Despicable Me 3
    What shines through is the visual wit and innate sweetness of the storytelling, and Carell’s cackling, cueball-skulled misanthrope — a (mostly) reformed scoundrel who can still have his cake, and arsenic too.
  11. The Chaperone
    It’s little more than a handsome snooze that even the Masterpiece Theatre crowd may find a bit too snoozy.
  12. Nine
    The numbers, while lively, remain cluttered and stage-bound. The women, however, are spirited and sexy.
  13. The Man in the Iron Mask
    Wallace, unfortunately, writes lazy, anachronistic dialogue, and the picture is abysmally shot (by Peter Suschitzky), with a prosaic, low-budget look that never allows you to experience the enraptured majesty of a fairy-tale historical setting.
  14. 30 Minutes or Less
    There's nothing nice about 30 Minutes or Less. It's got no redeeming social value. It just ticks away, exploding all notions of where you think it's going to go. It blew me sideways.
  15. Resident Evil: The Final Chapter
    The climax makes for a satisfying conclusion to the franchise—an ending which this writer expects, and even hopes, all concerned will studiously ignore when they get around to making the next one.
  16. Venom: Let There Be Carnage
    If we're all disposable space chum in this franchise game anyway, who needs a coherent narrative and character arcs? Just bite the head off every chicken, and lean in.
  17. Soul Men
    Soul Men could have done with less amped-up abrasiveness and more soft-shoe charm.
  18. Silent House
    A denouement more textbook than thrilling stalls some of the movie's power. But the early chills are potent, intense.
  19. The Quick and the Dead
    The Quick and the Dead is too light to pack the dramatic punch of a true Western and too flat to pass as cheeky revisionism. It ends up in its own amiable, slowpoke limbo.
    • 49 Metascore
    • 42 Critic Score
    Dark Matter
    Liu Ye is too inexpressive for his role's demands, and the movie doesn't build to his downfall: It just zaps itself there.
  21. Hart's War
    It may seem harmless, to some, that our movies have never entirely abandoned the land of Poitier-ville, but as Hart's War demonstrates, it's an insult that they haven't.
    • 49 Metascore
    • 58 Reviewed by
      Ty Burr
    Dr. Dolittle 2
    Murphy gives a reined in performance that, every so often, shows a spark of the ''Shrek''ish donkey within.
  23. The Emperor's Club
    A traditionally dressed, old-fashioned drama, starring Kevin Kline in the Robin Williams role -- is as much about the moral development of the adult as about his boys'. More so, maybe.
  24. K-PAX
    I rather like the whole mystic- crystal-revelations aspect of K-PAX, and the idea that even a psychiatrist of Jeff Bridges' handsome, American substantiality is open to notions of cosmic improbability.
  25. Jeepers Creepers
    Turns into a grab-bag freak show as desperate as it is arbitrary.
  26. The Mechanic
    As it is, The Mechanic is ham-fisted pulp, like Robert Rodriguez's "Machete" taking itself seriously.
  27. Son of a Gun
    Son of a Gun becomes a somewhat predictable but excitingly twisty heist film involving a double-dealing Russian heavy, a desperate femme fatale, and a fortune in gold bars. It has just enough muscle and style to make the familiar feel fresh.
  28. 7 Days in Entebbe
    The film comes to crackling life during the planning and climactic execution of the raid. And Padilha, the Brazilian director behind 2007’s "Elite Squad," knows how to stage these white-knuckle sequences, especially when he cuts back and forth between the on-the-ground tactical assault and a modern dance performance featuring one of the commando’s girlfriends.
  29. Horizon: An American Saga - Chapter 1
    What’s strangest about this three-hour movie, though, is that despite some deadly slow patches, it still feels like an hour was cut from it, considering how characters develop off-screen. On more than one occasion, there are scenes that suggest deep and lasting relationships between people … that must have happened while the camera was somewhere else.
  30. 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.
  31. Killing Zoe
    The idiocy of the plot is the tip-off that writer-director Roger Avary is really just interested in random displays of nihilistic decadence (e.g., heroin-shooting, prostitute-bashing, lotsa blood).
  32. Live by Night
    Live by Night is clearly Affleck’s love letter to classic pulp, and almost no noir touchstone goes unturned in its two-hour-plus run.
  33. Scary Movie 3
    Like its two predecessors, Scary Movie 3 is a hit-or-miss affair, but the gags that connect really connect.
  34. Oldboy
    In the end, the most impressive performance may be Spike Lee's. He uses skill without gimmickry, flash without fuss, to tap the mesmerizing soul of this pulp.
  35. Inkheart
    Mirren's all-out display in this distinctly British absurdo-literary extravaganza had me wishing Elinor were my own fabulous auntie and that she'd lend me some magic items from her closet.
  36. Return to Never Land
    There's always something to look at (an octopus holding his eyeballs aloft, the petulant Jane assaulted by pixie dust), but the story is weak tea.
  37. Scotland, Pa.
    Funny? Yes, but in its slapdash way, it sounds nuttier than it plays.
  38. Romance
    The movie is a footnote as well, a minor reference back to the days when people yearned for a cinema that was serious and erotic at the same time.
  39. Pitch Black
    So jaunty, so limber, and so visually self-assured that art peeks through where crap has traditionally made its home.
  40. Cake
    Aniston works so hard to avoid sentimentality that it's disappointing when it creeps into the film. Director Daniel Barnz casts everything in a blue-yellow light that oversells the melancholy mood.
  41. Angel-A
    Angel-A shows how director Luc Besson can be French in a way that even the French might despise...Quel ick. And très tedious.
  42. Run, Fatboy, Run
    Simon Pegg has what it takes, but he's saddled himself with a script (co-written by Pegg and Michael Ian Black) that Adam Sandler wouldn't have pulled out of his bottom drawer.
  43. Scoop
    A companion piece to "Match Point" that suffers all the more in comparison.
  44. The Exorcist III
    The Exorcist III has the feel of a nightmare catechism lesson, or a horror movie made by a depressed monk.
  45. 13 Hours: The Secret Soldiers of Benghazi
    There’s a real story of American heroism somewhere in here, but it’s diluted by Bay’s worst tendencies.
  46. The Judge
    What makes the film more than just a dusty Grisham retread is that the case (as compelling as it is) is merely the backdrop for a more emotionally engaging story about fathers and sons played, like a duet, by two virtuoso actors who give the film not only all they have but probably more than it requires.
    • 48 Metascore
    • 58 Reviewed by
      Ty Burr
    Jennifer 8
    A lukewarm thriller.
  48. A Lot Like Love
    A Lot Like Love is a lot like a romantic comedy, except that all that's keeping these two kids apart is the trivially insufferable movie they're in.
  49. Ready to Wear (Prêt-à-Porter)
    Ready to Wear is messy and vaguely nasty -- a blur with attitude.
  50. Goon: Last of the Enforcers
    The film’s real treat is its deep acting bench with franchise veterans Scott, Pill, Liev Schreiber, Kim Coates, and Marc-André Grondin joined by Elisha Cuthbert, TJ Miller, and, of course, Russell, a real-life former hockey pro whose troubled villain is worthy of a redemptive spin-off film.
  51. Titan A.E.
    Titan A.E. is ''Star Wars'' pulped and mashed into flavorless kiddie corn.
  52. Scarlet Diva
    Has a voyeuristic tug, but all in all it's a lot less sensational than it wants to be.
  53. The Banger Sisters
    Really, the sole favor Dolman does the plucky Hawn is to light her rear end so that its continued gloriousness can be appreciated.
  54. Charlotte Gray
    A frustratingly inert story, a bookend to last year's wooden ''Captain Corelli's Mandolin.''
  55. Kingdom Come
    What slays them in the second balcony, though, flattens on the screen.
    • 48 Metascore
    • 83 Critic Score
    Charlie's Angels: Full Throttle
    Let's face it: Chick power was never this yummy.
  57. Remember the Titans
    Denzel Washington, by now, could do this sort of role in his sleep.
  58. The Predator
    The Predator isn’t a dumb movie exactly. But it’s not a smart one either. What it is, is something uncomfortably in between: a satire of a franchise that was already in on its own macho joke.
    • 48 Metascore
    • 25 Critic Score
    We're No Angels
    What are two of America’s top dramatic actors, a serious playwright, and a hard-boiled British director doing in We’re No Angels, a meaningless stab at film comedy? Failing badly, that’s what.
    • 48 Metascore
    • 50 Critic Score
    Ride
    Hunt seems to confuse fast-talking with crackling banter, and the mother-son bond is way ickier than it is cute.
  61. Sherlock Holmes: A Game of Shadows
    Yet here, as before, part of the movie's perversely cheeky design is that it throws away its own cleverness.
  62. Switch
    Switch leaves one feeling that Blake Edwards is more than a little confused.
  63. The Protégé
    Martin Campbell's cat-and-mouse assassin thriller is self-aware enough as a kinetic genre entry. As it spills more blood and more convoluted backstory, however, it reveals an empty center.
    • 48 Metascore
    • 75 Critic Score
    Eaten Alive
    Blackly comic elements do little to blunt the unsettling aura created by the garish lighting and intense dentist-drill ”score.”
  65. Timecop
    The plot is more confusing than clever, and the only actor who seems to be having any fun is Silver, who's at his best throwing masochistic hissy fits at his younger, not-quite-so-evil self.
  66. The Real Blonde
    Modine, as a morosely self-involved actor, looks as if he's about to strangle someone -- and the movie, an attack on superficiality, never quite makes it out of the shallow end.
    • 48 Metascore
    • 58 Critic Score
    Butterfield 8
    Taylor’s work is several notches above the botched material, adapted from the John O’Hara novel.
  68. Bartleby
    It's no insult to Melville to say that he wrote, in effect, the original ''Dilbert.'' This movie, unfortunately, makes ''Dilbert'' look like Melville.
  69. My First Mister
    Brooks guards the movie from overheating in a surfeit of warmedy.
  70. Brother Bear
    Mark it: Phil Collins officially has nothing more to teach us. The tunes he's composed for Brother Bear are so generic, they're modular.
  71. Glee: The 3D Concert Movie
    As for the concert itself, it's a generically big, loud, overchoreographed, over-mic'ed, post-Madonna production.
  72. Saw III
    Admit it: It's not every horror film that can make you feel preached at and slimed at the same time.
  73. Ted 2
    The sequel still manages to walk the tightrope between clever and crass. For a while, at least.
  74. All We Had
    The directorial debut of actress Katie Holmes, starring herself as Rita, a drunk single mother living out of her car, is the latest well-intentioned yet lousy-with-clichés treatment in the hard-luck-woman subgenre.
  75. Albino Alligator
    Ultimately, the talented cast -- among them M. Emmet Walsh, Faye Dunaway, Skeet Ulrich, and Viggo Mortensen -- play to their easiest star turns rather than their most interesting strengths.
  76. The Theory of Flight
    [A] gimmicky actors' holiday.
  77. Bride of Chucky
    Bride of Chucky is teen horror for dummies.
  78. Divergent
    Woodley, through the delicate power of her acting, does something compelling: She shows you what a prickly, fearful, yet daring personality looks like when it's nestled deep within the kind of modest, bookish girl who shouldn't even like gym class.
  79. The Greatest Showman
    The movie never quite stops feeling like Moulin Rouge! written in extra-large block font, or Broadway projected straight onto a big screen, which certainly isn’t bad news if that’s exactly what you love.
  80. Last Vegas
    After a while, you truly start to see the formula gears churning, but given that, it helps to have an actress like Mary Steenburgen, who at 60 still possesses an amazing glow, as well as a snappier comic timing than ever.
  81. Spanglish
    This is a deeply unpleasant movie masquerading as a heartfelt social commentary on life in these United States.
  82. The Young Girl and the Monsoon
    When Kinney and Muth share scenes, it's hard not to get caught up.
  83. Lucky Break
    Every porridgy inmate in this instantly forgettable romp warbles in the prison's amateur musical, and one of them demonstrates a rather extreme devotion to the tomatoes he grows in the on-site greenhouse.
  84. Sinbad: Legend of the Seven Seas
    This voyage is strictly one for the disposable present, however quaintly old-fashioned the hand-drawn work that the animators have blended with 3D effects. (Tots will twitch during the grown-up relationship parts, and teens will groan at the kiddie sops.)
  85. 50 First Dates
    As a comedy, 50 First Dates is standard Sandler, but as a love story it left me pleasantly buzzed, if not quite punch-drunk.
  86. Tears of the Sun
    Left wing? Right wing? Center? Who cares, as long as Bruce Willis is saving the world.
  87. Power and Terror: Noam Chomsky in Our Times
    At 73, Chomsky seems to understand everything about power and aggression -- except, that is, its centrality to human nature.
  88. Ju-on: The Grudge
    Divided into chapters, the film jumps around in time, which means that we get to observe Shimizu's utter failure to develop his characters from endless narrative angles.
  89. Every Day
    It's hard to empathize with the family in the indie drama Every Day when each member is so sitcom-ready.
  90. The Counselor
    A jaw-dropping misfire. The dialogue is laughably pretentious, the plotting is virtually nonexistent, and the performances are so broad and cartoony that you keep wondering if it's all some sort of prank.
  91. Tales from the Crypt: Demon Knight
    To call Demon Knight a popcorn movie is to give it too much credit — I doubt it would raise the pulse of Orville Redenbacher.
  92. Red Hook Summer
    Red Hook Summer has some fantastic gospel numbers, but as drama it's a casserole that never comes together.
  93. Paris Can Wait
    An airy, half-baked meringue of a movie, Paris Can Wait is the kind of film that leaves you famished — not just for la belle vie on screen but for the stronger sustenance of plot and character.
  94. The Oh in Ohio
    A silly, amusing trifle.
  95. Underwater
    She’s (Stewart) just another action hero — albeit a smart, flinty one with exceptionally good hair — learning the hard way that under the sea, as in space, no one can hear you scream.
  96. Final
    Did Scott, too, get hooked by the 1998 Spanish film ''Open Your Eyes?'' Intentionally or not, he has made ''Overcast Vanilla Sky.''
  97. Sugar & Spice
    Fun in its raunchy unwieldiness.
  98. Prey for Rock & Roll
    An ingratiatingly scrappy little movie. It's been cobbled together out of a great many conventional crises (drugs, abusive boyfriends, heartless girlfriends, a looming record deal), yet there's a tough and appealing vitality to the way that it embraces the petty ego-tripping and party-down squalor of the rock lifestyle and stands apart from it at the same time.
  99. Rush Hour 2
    Coarser, more hectic, more cheaply written sequel.
  100. Scary Movie
    The whole thing wobbles, like the garish, trashy, sexy shoes the young folks are wearing this summer on their way (in droves) to movie theaters, intent on abandoning themselves to pleasurable mindlessness.
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