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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    • 48 Metascore
    • 58 Critic Score
    The Dark Backward
    Somewhere here, an ironic show-biz parable is trying to take shape. But director Adam Rifkin generally ignores it, preferring to flaunt the chops he has borrowed from David Lynch and John Waters.
  2. Planes: Fire & Rescue
    Despite somewhat of a direct-to-DVD plot, the perilous and elaborate rescue scenes are certainly big-screen-worthy. Canny references to '70s television and some genuinely funny moments will give grown-ups enough fuel to cross the finish line.
  3. Emperor
    Emperor explores the delicate postwar dance of revenge, justice, and realpolitik, yet its focus on the issue of Hirohito's guilt or innocence (did he order the attack on Pearl Harbor? Or did he, in fact, oppose the Japanese military machine?)
  4. Tomb Raider
    Uthaug also manages to work in a few genuinely cool visual tricks, though the dialogue, from a serviceable script by Geneva Robertson-Dworet and Alastair Siddons is strictly standard; a mix of clunky action-movie exposition and winking Indiana Jones-style humor.
  5. Chicken Little
    What falls in Chicken Little are hopes.
  6. Child's Play
    By giving Chucky a reason to kill, the new movie’s arc can’t help but dilute his menace a bit.
  7. The Idiots
    A highly calculated act of mischief that sounds like a stunt cooked up for Howard Stern's radio show.
  8. 21
    The fun of 21 is the way that this sharp, hyperaware star in the making, his face as readable as a mood ring, pours us into an adrenalized cocktail of fear, desire, and mental buzz.
  9. Vertical Limit
    By laying on disasters with a trowel, misses the chance to sweep us up into a more elegant fantasy of primitive mountaintop terror.
  10. The Core
    It's a schlockier ''Armageddon'' crossed with ''Fantastic Voyage,'' minus the fun.
  11. Orange County
    Arriving amid the traditionally withered harvest of January releases, Orange County is peachy.
  12. Super Troopers
    Scattershot, hit-and-often-miss comedy.
  13. From Dusk Till Dawn
    Imagine two movies...The first is a moody thriller about two brothers who pull off a bank job, take a family hostage, and head for Mexico. The second is a garish horror freak-out. The deranged hook of From Dusk Till Dawn is that it starts out as the first movie and turns, on a dime, into the second.
  14. Some Girl(s)
    The things that once made Neil LaBute's movies seem like tossed grenades — the loutish protagonists, the sadism toward women — now come off as more dated than scandalous.
  15. 300: Rise of an Empire
    The film belongs to Green — maybe the only actress ever to "graduate" from being a Bertolucci muse to a bloodthirsty action-flick dominatrix.
  16. Lockout
    With no thriller cliché left unused, the gaily outlandish plot is matched by tin-eared dialogue, ripe tough-guy overacting from the very game Pearce, and best-that-she-could acting from Grace.
  17. Memoirs of an Invisible Man
    There’s every indication that director John Carpenter (Halloween) was trying for more than another rinky-dink Chevy Chase comedy. Except for the effects, though, Memoirs of an Invisible Man comes disappointingly close to being just that.
  18. Sleeping with the Enemy
    As an actress, Roberts has more than a great smile. She’s alive on screen — you can practically feel her pulse. But someone should have realized that audiences would be on her side even if every single moment of a movie weren’t calculated to put them there.
  19. Bullet to the Head
    Bullet to the Head doesn't try to adapt its star to 2013. It just pretends that we're still living in 1986. And for 91 minutes, it just about works.
  20. Just Cause
    For a story with so much going for it — including an interesting cast — Just Cause is just not taut and thrilling enough.
  21. Operation Dumbo Drop
    The whole concept, supposedly based on a true story, is weird — this is what Vietnam movies have come to? But at least the Disney quadruped has the grace to say nothing, and Leary, still an interesting motormouth, knows enough not to smoke or swear when there are elephants around.
  22. I'm Still Here
    An artful piece of exploitation vérité.
  23. Cat Person
    By swerving into territory already better owned by outrageous indies like Promising Young Woman — and to a lesser degree, last year's Sundance breakout Fresh — Cat forfeits its own underlying message, without finding anything else new or even particularly coherent to say.
  24. The Girl on the Train
    [Taylor] deftly translates the bleak, raw-boned menace and tricky time signatures of Train’s intertwined plotlines, and draws remarkably vivid performances from his cast, particularly his two female leads.
  25. Angels & Demons
    The new movie is an opulent-bordering-on-hysterical mass of chitchat and chase scenes.
  26. Dummy
    Serves up the sort of shrill ''satire'' of middle-class Jewish vulgarity in which the mere mention of words like ''brisket'' and ''klezmer'' is automatically presumed to be hilarious.
  27. High Crimes
    This is very much a ''woman's picture,'' driven by a twin rudder of anxiety and empowerment.
  28. Shallow Hal
    Something is happening to our boys: They're getting mushy. Shallow Hal is not so much about how gross people are as how beautiful they are once you get beyond the rude, noisy flesh. It's a sermon wrapped in a fat suit.
    • 48 Metascore
    • 42 Reviewed by
      Ty Burr
    Orgazmo
    Dian Bachar, as Joe's pint-size sidekick, sounds the only note of sly wit; the unidentified stripper playing T-Rex delivers the only real shock value. The movie could have used a lot more of both.
    • 48 Metascore
    • 67 Reviewed by
      Ty Burr
    Fortress
    When Lambert is onscreen, Fortress is just an effective action cheapie. Whenever Smith is the focus, it approaches junk poetry.
  31. The Longest Yard
    Each joke and one-liner is a made-for-HBO zinger, each scene with Sandler a reaffirmation of the old friendship between the two successful SNL alums.
  32. Alien Trespass
    The characters in Alien Trespass (directed by X-Files producing alum R.W. Goodwin) are specimens of Sputnik-era determination, led by a gung-ho Eric McCormack.
  33. One Day
    A drippy, uninvolving movie adaptation.
  34. Gerontophilia
    There are the makings of a poignant Harold and Maude-style drama here, but the movie is so amateurish and eager to be shocking, it just winds up feeling creepy.
  35. The Secrets We Keep
    For the most part, though, these secrets aren't worth passing along.
  36. Tolkien
    Hoult brings a quiet, romantic intensity to the young Tolkien (pronounced ‘Tolkeen’, who knew?), Lily Collins does a lot with a little as his first love Edith, and the Hobbit horde will gobble up all of the easter-egg references peppered throughout the movie.
  37. Wonderful World
    It's all very sincere, but watching a dweebish depressive learn that Life Is Good is a lesson of diminishing returns.
  38. Mr. Magorium's Wonder Emporium
    Mr. Magorium, who is 243 years old (so are his jokes), is a cross between Willy Wonka and Geppetto, but Hoffman plays him with little more than a goofy dumb lisp, achieved by tucking his lower lip under his upper teeth, so that he looks just as rabbity-stoopid as he sounds.
  39. 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.
  40. Step Up
    Step, under the sure hand of director-choreographer Anne Fletcher, quickly discovers its own virtuoso charms. Two of them are its leads.
  41. Penelope
    Is there anything more dull than an ineptly cynical fairy tale?
  42. Admission
    Admission, a likably breezy campus movie directed by Paul Weitz (About a Boy), is blissfully non-insulting.
  43. Paradise Road
    Beresford, who'd like to teach the world to sing, makes the moment as moving as a Coca-Cola jingle. It's not the real thing, but it's effective.
  44. Divine Secrets of the Ya-Ya Sisterhood
    The magnolias in Callie Khouri's fried green movie look limp.
  45. Ant-Man and the Wasp: Quantumania
    At just over 120 minutes, though — a blink in Marvel time — this Ant-Man is clever enough to be fun, and wise enough not overstay its welcome. Who better understands the benefits, after all, of keeping it small?
  46. King of Thieves
    Thieves feels oddly joyless — a mostly rote perp walk through the mechanics of unarmed robbery, sprinkled with occasional slapped-on signifiers of fun (wild camera angles, snazzy soundtrack, smash-cut flashbacks to Swinging London).
  47. Murder at 1600
    As directed by Dwight Little ("Free Willy 2: The Adventure Home," a morph of "The Day of the Dolphin" and "Lassie Come Home"), the tension-to-action sequences unspool efficiently.
    • 48 Metascore
    • 25 Critic Score
    The Doom Generation
    Good luck searching for meaning — you’ll find mostly blood and epithets.
  49. The Call of the Wild
    Though this tale of redemption and survival doesn’t feel particularly relevant or essential in today’s media landscape, it still has the capacity to entertain and move, well over a century after the story first was published. And Ford’s presence and performance inject it with a wild heart it desperately needs.
  50. Don't Worry Darling
    The movie, whatever its pile of ideas about love, gender constructs, and modern living, never really transcends Stepford mood-board pastiche. It's all nefarious and gorgeous, Darling, and strictly nonsense in the end.
    • 48 Metascore
    • 58 Critic Score
    Martian Child
    The problem with Martian Child is that it wants to be a story about outcasts, but Dennis doesn't come off as a cute little rebel.
  52. I Feel Pretty
    There’s also something depressing about Schumer playing off her own looks as if, without the abracadabra of her bonked-head delusions, she were some sort of hideous gremlin. Magician, heal thyself.
  53. The Mountain Between Us
    Can’t decide whether it wants to be a chilling survival movie or a sweeping romance. It never fully commits to either genre, and the result is a forgettable adventure that leaves you feeling cold.
    • 48 Metascore
    • 25 Critic Score
    Blues Brothers 2000
    The Blues Brothers may now just qualify as the most overextended one-joke shtick in history.
  55. The Great Raid
    The main problem? Raid lacks a center. It's an exhausted sprawl with multiple story foci, none of them terribly compelling.
  56. Black Nativity
    While Hudson's and costar Mary J. Blige's soulful, stirring musical numbers are absolute dynamite, the rest of the film's story is larded with enough soap opera twists and heavy-handed schmaltz that you'll feel like you're being bludgeoned with a hymnal.
  57. Night at the Museum
    What a dull, nice movie, wrenched from a wild premise and battered into docility.
    • 48 Metascore
    • 75 Reviewed by
      Ty Burr
    Condo Painting
    This vision of creativity as blind, instinctive ''process'' is exhilarating.
  59. 17 Again
    The result is a slack do-over fantasy in which Zac Efron, as a basketball star, looks baffled as to why he hasn't been asked to sing and dance.
  60. F/X2
    The movie itself is convoluted and almost unbelievably lackluster.
  61. The Thing About My Folks
    Thing is Woody Allen on a third-grade reading level. Neurosis abounds, but awareness doesn't, and certain ''jokes'' demand additional therapy.
  62. The Proposal
    The chemical energy between Bullock and Reynolds is fresh and irresistible.
  63. The Strangers: Prey at Night
    Two films in, The Strangers has already become a horribly familiar franchise.
  64. National Treasure: Book of Secrets
    Director Jon Turteltaub has fun with Indian glyphs, giant stone pulleys, and an Indy Jones-worthy City of Gold located beneath the rocky shoals of Mount Rushmore.
  65. Mary Magdalene
    No one can argue that Mary Magdalene isn’t a well-intentioned film. It’s just that while Mara convinces you that Mary deserves a more contemporary reappraisal, she also lays bare the fact that she deserves a better movie in which to accomplish it.
  66. Godzilla: King of the Monsters
    Before anyone reading this starts complaining that I just don’t get what movies like Godzilla: King of the Monsters are all about, that I’m the sort of killjoy who should just relax, let me say that it would be a lot easier to take it less seriously if the people who made the movie cared enough to take it more seriously.
  67. Hard Ball
    The movie is so littered with clichés of genre, as well as clichés of artifice in Reeves' pained performance, that any semblance of social reality goes foul.
  68. The Mummy Returns
    The actors themselves are more rip roaring and full of spunk than in their first outing.
  69. xXx
    Even in the summertime, the most restless young audience deserves the dignity of an action hero motivated by something more than franchise possibilities. Movies like XXX -- a big 000 -- don't deserve our $$$.
    • 48 Metascore
    • 58 Reviewed by
      Ty Burr
    Kiss Me, Guido
    If writer-director Tony Vitale ladles on the cliches with extra sauce, Guido still has a hey-Ma-I'm-makin'-a-movie enthusiasm that's more infectious than it has a right to be.
  71. Shark Tale
    The noisiest laughs in this watery animated comedy are reserved for those who value self-referential winks above all else.
  72. A Love Song for Bobby Long
    A poky dawdle of a Southern-style indie that would pass without notice but for John Travolta and Scarlett Johansson.
  73. 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.
  74. Morgan
    Is Morgan hardwired for violence, or is “she” just a synthetic naïf with a bloody glitch? Taylor-Joy and the rest of the ace cast make you care about the answer to that question. The script? Less so.
  75. Hannah Montana: The Movie
    Cyrus, as always, is a professional charmer (it's hard to resist when she leads a hip-hop hoedown), and the crusty folkiness of Billy Ray Cyrus as her real-life dad is as welcome as ever.
  76. The Strangers
    Bryan Bertino, stages The Strangers' early scenes with spooky panache...But then comes the blood, the shrieking midnight chase scenes, the anything-goes over-the-top-ness. In other words, everything that we liked the movie for not being.
  77. Percy Jackson & the Olympians: The Lightning Thief
    Has all the CGI sorcery of a Harry Potter pic, but none of the magic.
  78. Haunted Mansion
    Much like its namesake, Haunted Mansion is an enjoyable, if somewhat sedate experience that is more spooky diversion than thrill ride.
  79. Pink Flamingos
    In Pink Flamingos, Waters did something subversive and, in its gross way, quite spectacular: He created his own hell-bent, sick-joke Oz, with Divine as its wicked-witch queen.
  80. Fun with Dick and Jane
    Wearing a brush cut that never fits the role, Carrey doesn't do a lot here besides flash those vampire-nerd teeth, and I grew weary of seeing them.
  81. Bella
    In stories like this defiantly unsubtle, structurally clunky specimen, causes women who are considering abortion to think again, and self-selecting audiences to enjoy a light, luxurious weep.
  82. Sgt. Bilko
    Bilko is a weightless comic creation, and Steve Martin, perhaps sensing this, drifts through the movie with a misplaced balletic goofiness.
  83. Cote d'Azur
    The performances are mediocre. The heart is big. The weather is swell.
  84. Accepted
    Accepted's winning dumbness and breezy bons mots save it from the pit.
  85. 3 Generations
    Director Gaby Dellal (On a Clear Day) admirably avoids the trap in which transgender characters are portrayed as victims, but she way overcranks the “movie” neuroses of her three characters, muffling any human spark.
    • 47 Metascore
    • 42 Critic Score
    Before the Rains
    This period piece is exactly what you'd expect from a Merchant Ivory production: a tragic tale of love set against a backdrop of opulent scenery.
  87. Josie and the Pussycats
    The movie's got bounce. Spanked along by a soundtrack that has a surprising punky bite for something aimed at 13-year-olds.
  88. What Women Want
    Gibson, in a disarmingly nimble, fast break performance, makes Nick's new hyperempathy look like the essence of virile panache.
  89. Borstal Boy
    A quaint, romanticized rendering.
  90. The Guru
    Bright dialogue and finely embroidered performances adorn The Guru like festive beading on a pair of made-in-India bedroom slippers.
  91. Brother
    Critics tend to fawn over the Japanese director-star Takeshi Kitano (a.k.a. Beat Takeshi), but am I the only one who finds his films impossible to make heads or tails of?
    • 47 Metascore
    • 67 Critic Score
    When Worlds Collide
    When Worlds Collide is essentially 81 minutes of bad emoting by future TV actors.
  93. Chaplin
    A massive Hollywood biopic about a man who never quite seems there.
  94. La mission
    The warmth comes through, even if the storytelling is simplistic and clichéd.
  95. In the Cut
    Ryan radiates neither desire nor terror. She's freeze-dried in a world of lifelessly abstract feminine fear, and so is the movie.
  96. Fantastic Beasts: The Secrets of Dumbledore
    Dumbledore feels like an improvement, at least, on the joyless, enervating slog of 2018's Crimes of Grindelwald; it's nimbler and sweeter and more cohesive in its storyline. And the cast, less trapped in a fug of half-formed symbolism and subplots, are allowed realer and more romantic stakes.
  97. Regarding Henry
    The movie has a few jokes, but it could have used some of the canny, real-world logic that made Rain Man so convincing (and funny).
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