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 2.1 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. Multiplicity
    Ramis’ talented, underused SCTV colleague Eugene Levy makes a brief, welcome appearance as a nuttily dim cement contractor, but he’s a zany interlude in an otherwise muted, unzany tale.
  2. 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.
  3. Extreme Measures
    Apted keeps the speechifying and dramatic poses away from Grant (poor Hackman’s the one forced to say, ”If you could cure cancer by killing one person, wouldn’t that be the brave thing to do?”). And he gives the star room to do clean work without the fussiness that marred Nine Months.
  4. The Island of Dr. Moreau
    He’s become such an obvious parody of himself that Frankenheimer has permitted Kilmer to do a wicked mid-movie impersonation of Brando’s character; it’s funny, but it also gives The Island of Dr. Moreau an extra layer of camp it certainly didn’t need.
  5. Eye for an Eye
    It’s an exercise in mad-as-hell vigilantism. And to reinforce the absurdity of what fury can be unleashed in a woman when a killer smirks, Sally Field — the Not Without My Daughter star herself — plays the ponytailed mom with the itchy trigger finger.
    • 58 Metascore
    • 58 Critic Score
    The Three Faces of Eve
    What seemed steamy in 1957 — a reasonably frank look at mental disorder and repressed sexuality — is today the stuff of Oprah.
  7. Mufasa: The Lion King
    The visual effects and animation teams scale a monumental peak here, and their work, at least, is worthy of praise. But Nathanson’s screenplay is a spiral of ever-increasing peril.
  8. Knock at the Cabin
    Shyamalan may be saying something meaningful about faith or environmental destruction or the corrosive fraying of the social contract (could this vigilante crew really be motivated by pure homophobia, as Andrew believes?). But the message is mostly lost in sentiment, and a lingering sense of the better, messier movie that might have been.
  9. Scream VI
    Splattery, puncture-heavy violence — the hard-R rating is earned — alternates with deadening rafts of therapy-speak, including an actual therapy session. But there's no deeper meaning to any of it; the Scream idea, meta to its core, was always a preening celebration of its own cleverness, never mind the occasional half-explored nods to toxic fandom or cancel culture.
  10. 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.
  11. Cocaine Bear
    It's all patently ridiculous, and even at 95 minutes, a stretch to call this loose cannonball of high camp and sticky-bright gore a movie.
  12. The Killer
    Fincher is adept at excoriating the darkness of the human soul, but he's missed his mark with a character so blindly determined to prove he doesn't have one.
  13. Ballerina
    Like dining at Burger King, it's undeniably enjoyable, but may leave you with a queasy feeling when it's all over.
  14. Chantilly Lace
    Given a wealth of acting talent and the freedom to improvise its way past the cliches that hobble so many films by and about women, Chantilly Lace ends up a cliche anyway: a manipulative tearjerker.
  15. Finally Dawn
    Costanzo wants to tell a story set in the past, but he doesn't spend enough time fine-tuning the particulars that make period pieces feel vital rather than stagey. Additionally, at 140 minutes, the film is self-indulgent in length.
  16. Civil War
    The result is a brutal piece of speculative fiction that highlights the ugliness of war — even if it never quite lives up to its provocative premise.
  17. Kinds of Kindness
    With their abrupt violence, grotesque body horror, and mordant sense of humor, all three of the stories feel more aligned with Lanthimos’ earlier style, The audacity that has so defined Lanthimos and Stone’s work together remains, but here, it takes on a nastiness that becomes tedious the longer the film stretches on (and on and on to a nearly three-hour running time).
  18. Bird
    Like the butterflies and pockets of natural beauty that Bailey is drawn to, there are glimmers of potential in Bird. But it never fully manages to take flight, leaving its provocative conclusion more jarring and confusing than revelatory.
  19. Karate Kid: Legends
    Weirdly it's because it is so damned hokey that parts of the movie are agreeable. One can't help but laugh. That, plus the lead performer, Ben Wang as Li Fong, is extremely likable. He gives a terrific performance, even if you've seen every beat before.
  20. Eden
    Howard, working from a script by Noah Pink, has a lot of plates to keep spinning, including the story's wild swings between outrageous outbursts, sometimes played for laughs, and dog-eat-dog tension. Inevitably, with such an act, a few plates are bound to break.
  21. Little Buddha
    You hardly need to be devoted to the ways of Buddhism to see when a gifted filmmaker, for the sake of multicultural niceness, has enthusiastically abandoned his mind.
    • 53 Metascore
    • 58 Critic Score
    Champagne
    The story and character work get the job done, but aren't likely to leave a lasting impression.
  23. From Paris with Love
    A ''fun trash'' movie that's more trash than fun.
  24. Daybreakers
    Daybreakers turns?into a ponderous apocalyptic chase film -- it's like "Children of Men" with exploding-plasma shock effects.
  25. The Blind Side
    A feel-good movie that never stops feeling good. The film is based on a true story (it was adapted from a nonfiction best-seller by Michael Lewis), but you never feel that Hancock has honestly captured what's true about it.
  26. Nine
    The numbers, while lively, remain cluttered and stage-bound. The women, however, are spirited and sexy.
  27. 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.
  28. Let the Right One In
    If random arty blood thrills are your cup of fear, perhaps you'll enjoy Let the Right One In, a Swedish head-scratcher that has a few creepy images but very little holding them together.
  29. The Fourth Kind
    Too often, The Fourth Kind makes the paranormal look disappointingly normal.
  30. The Loss of a Teardrop Diamond
    Howard looks peachy, and actor-turned-director Jodie Markell sweats the details -- moonlight, honeyed accents -- but the brittle script resists restoration.
  31. The Good Guy
    One by one, each scene goes slack as the script struggles with Screenwriting 101 problems like who the main character is and what he wants -- not to mention why any of us should care in the first place.
  32. Whatever Works
    The fact that Allen wrote the script in the '70s explains something about why his newest movie feels so old.
  33. Oldboy
    Oldboy caused a love-it-or-hate-it stir at Cannes last year, and how could it not: It's an onslaught made to cause a sensation. Consider me simultaneously jolted and depressed.
  34. Little Miss Sunshine
    If you're going to get on the wavelength of Little Miss Sunshine, you've got to be able to enjoy a comedy in which the characters fit into hermetically cute, predetermined sitcom slots.
  35. Burn After Reading
    The movie is overplowed, even if Brad Pitt's debut as a Coen comedy player is eye-catching.
  36. Inland Empire
    Inland Empire is so locked up in David Lynch's brain that it never burrows its way into ours.
  37. Racing Stripes
    So what disturbed me? It was the Shetland pony, which sports both Dustin Hoffman's pipes and his "I Heart Huckabees" toupee, and will haunt my nightmares forever.
  38. Appleseed
    At this point, there's something almost masochistic about the way animators in Japan use cheesy ''Westernized'' heroes to fuel their fantasies.
  39. Are We There Yet?
    It's been a while since we saw a bad John Hughes comedy, and Are We There Yet? more than fits the bill (even though Hughes had absolutely nothing to do with it).
  40. Rory O'Shea Was Here
    Rory O'Shea Was Here gazes at the physically afflicted and just about begs for our sympathy long after we've grown restless and eager to feel something else.
  41. Hitch
    Will Smith, taking a break from summer sci-fi smashfests, certainly shows a gift for modulation. Far from coasting, he plays a world expert at romance by ratcheting his charm up and down in supple, exacting degrees.
  42. Son of the Mask
    The characters twirl around like mini tornadoes, but between random brash moments of technological eye-tickling, Son of the Mask sags more than it spins.
  43. Man of the House
    Walking the path grooved by such stone-faced confreres as De Niro and Schwarzenegger (and following up on his own more successful self-parody in "Men in Black"), Jones positions himself as a Man in a Stetson.
  44. The Ring Two
    The scariest thing in the not-scary-enough The Ring Two is the notion that even smart, attractive adults - yikes, even mothers - just never learn, either.
  45. Dust to Glory
    It turns out that speeding along dirt roads isn't nearly as photogenic - or as varied - as surfing is.
  46. Torremolinos 73
    Has the dubious distinction of being just about the mildest porno comedy ever made. It's like something the teenage Pedro Almodóvar might have written to shock his 10th-grade creative writing teacher.
  47. 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.
    • 41 Metascore
    • 50 Critic Score
    House of Wax
    Except for when Paris is on screen giving us the winking sex eye, Wax is just a museum of gory, joyless, easy shocks.
  49. Dominion: Prequel to the Exorcist
    Schrader, in Auto Focus, displayed a devious sense of sin, but in Dominion the Calvinist schoolboy in him insists on trumping sin with guilt.
  50. Second Best
    Second Best might have made a good stage monologue, but as a film it's overstated and barely baked.
  51. Bewitched
    The Ephron sisters, sophisticates entrusted with a simple TV situation comedy, lose the magic of the com as they mess with the sit.
  52. Fantastic Four
    This clumsy, cheesy, chintzy adaptation, with its F/X that look dated the moment you see them, is like something left over from the '60s.
  53. Happy Endings
    There are pleasing outcomes for almost everyone in Happy Endings, and that's not good news.
  54. 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.
  55. 9 Songs
    Nobody will go to see Michael Winterbottom's sexually explicit, novelty-act drama - a naughty peep show for sobersides, disguised as a nature documentary - to hear the songs; everyone will go to see the shagging, which occupies the majority of the screen time.
    • 51 Metascore
    • 50 Critic Score
    Saint Ralph
    At first, Ralph and the movie have moxie -- the kid even gets busted for pleasuring himself in the public pool. Then Ralph starts asking us to take this cornball mission seriously.
  57. Asylum
    Nothing wrecks the mood of a high-toned British period piece about erotic obsession quicker than an unintentional laugh. In which case, prepare for Asylum to be derailed by snorts in all the wrong places.
  58. Supercross
    Amusingly, Supercross puts up a fierce anticorporate front, lauding the self-financed ''privateer'' over the ''factory'' cyclist. If this is a joke, few will get it.
  59. Valiant
    The CG is on the rubbery side, and the backdrops are jarringly 2-D. But Valiant isn't so hard to look at -- it's hard to listen to.
  60. The Baxter
    "The Station Agent's" Peter Dinklage provides diversion as a gay wedding planner.
  61. Cry_Wolf
    Cry_Wolf is underscored with idiot adolescent excitement (and gets extra absurdist points for casting Jon Bon Jovi as an educator).
    • 42 Metascore
    • 50 Critic Score
    G
    "The Great Gatsby" was famously bungled in the pulseless 1974 movie with Robert Redford. G, which updates the story with an African-American cast, is another strikeout, further destroying F. Scott Fitzgerald's film batting average.
  63. Into the Blue
    Walker is supposed to be lured by the buried treasure, but the actor, wearing Brad Pitt's bristle cut, is like Pitt with his sexy appetite sucked out.
  64. Stay
    Eventually I gave up on meaning and began instead to study the profuse imagery -- and also the flat characters and anchorless performances.
  65. Protocols of Zion
    The filmmaker keeps himself squarely on screen. This is fine when he engages in throwdowns with the bigots but distasteful when Levin shows himself reacting to footage -- unseen by viewers -- of the beheading of reporter Daniel Pearl.
  66. The Weather Man
    The Weather Man is what indie misery looks like when re-created by one of Hollywood's big studios.
  67. Chicken Little
    What falls in Chicken Little are hopes.
  68. In the Mix
    A genially cruddy B movie can sometimes go places - sort of - that bigger movies won't.
  69. Yours, Mine and Ours
    The movie, directed with a gym teacher's whistle by "Scooby-Doo's" Raja Gosnell, is a contempo soft-focus remake of the 1968 original starring Lucille Ball and Henry Fonda.
  70. Æon Flux
    Theron is an arresting image, but, like everything else in Aeon Flux, she's stranded in a trashy and derivative glum zone of fashion-runway fascism.
  71. Mrs Henderson Presents
    This makes for a friendly romp, and also a dull one.
  72. The Three Burials of Melquiades Estrada
    An unabashed descendant of "Bring Me the Head." This time, though, it's an entire corpse that gets hauled through the desert, and that's not all that's being toted. So is a hefty parcel of racial correctness.
  73. The Producers
    The accountant in Bloom would probably approve of the new Producers: It's an efficient extension of a popular brand. In theory, what's not to like? In reality, the whole schmear.
  74. 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.
    • 53 Metascore
    • 50 Critic Score
    The Promise
    There's a nice Road Runner-cartoon moment when the slave runs really, really fast, carrying the wounded general on his back while dodging an attack of CG bulls. I can't imagine Road Runner was what Chen had in mind for the most expensive movie ever made in China, but then, I was born too late for the time of the snowy eagle.
  76. Last Holiday
    A chaste and tepid remake of a 1950 British comedy.
    • 36 Metascore
    • 50 Critic Score
    Underworld: Evolution
    I especially like how, when Beckinsale's half-wolf, half-vampire friend Scott Speedman moves in for a kiss, you can hear the black leather of her dominatrix getup crinkle and crackle on the soundtrack like an old saddle. Sizzlin'!
  78. Nanny McPhee
    One of those raucous, hyperactive kiddie flicks that knocks you upside the head from its opening frame.
  79. 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.
  80. Little Jerusalem
    It would be hard to imagine a filmmaking style as serious yet lazy as the earnest vérité bobbing and weaving employed by La Petite Jérusalem.
  81. The Pink Panther
    Martin's gift for physical and vocal comedy is as deft as ever.
  82. Tsotsi
    More calculated than a Starbucks sampler CD, the picture could win the up-from-hardship award.
  83. Failure to Launch
    If you like Kathy Bates movies, you'll probably be frustrated with this one, since as Tripp's mother, the invaluable character actress is made to whipsaw between playing sappy domestic slave to her son's laundry and salty, overly sexual wife.
  84. She's the Man
    As an actress, Bynes is wholesome to a fault. She impersonates a teenage boy yet never gives him one good dirty thought.
  85. Take My Eyes
    If Take My Eyes explored how a woman could still feel for a man who abused her, it might have gripped us with its difficult truths. But the movie presents Pilar and Antonio's marriage as a stale, neurotic dead end.
  86. Stoned
    Thorogood allegedly confessed on his deathbed (in 1993) that he killed Jones, and while the movie convinces us that this might have happened, it never truly reveals who Brian Jones was before he fell apart. His indulgence, and his demise, play out in a void.
  87. Marilyn Hotchkiss' Ballroom Dancing & Charm School
    Really, about all that unifies the movie is its inclination to turn little people's dreams into limply ''affectionate'' camp.
  88. The Wild
    Lifting a concept isn't exactly foreign to the world of animation (what's "The Lion King" if not "Bambi" with manes?), but it isn't often a rip-off gets as blatant as The Wild, a flat-out regurgitation of "Madagascar."
  89. La Mujer de Mi Hermano
    You could dismiss this swankily shot Latin American trifle as an upscale soap opera, but that would be an insult to soap operas.
  90. The Lost City
    Though the filmmaker's feel for his Cuban heritage is bone-deep, it's a glazed and dolorous movie - a depressed epic.
  91. Water
    The movie takes the form of a lackluster women's-prison picture.
  92. An American Haunting
    The unnecessarily famous cast for such a standard, creaking, fake-spooky ghost story (with Bible verses thrown in for good measure).
  93. Down in the Valley
    As long as Norton plays Harlan as a modern-day Joe Buck, a kind of four-in-the-afternoon cowboy, we're drawn by his waltz of innocence and vagueness. But Down in the Valley turns out to be one of those films with a thick, gummy overlay of Western ''mythology.''
  94. Dead Man's Shoes
    The imagery is exotically grungy and jumbled by flashback, but in the end, the picture's more pulp than juice.
  95. Giuliani Time
    The trouble with Giuliani Time is that Keating, as a filmmaker, wants to give power to the people but in his every perception he takes it away from them.
  96. The King
    Just about the only way to make sense of the film is to view its Christian family the way that the director, James Marsh, does -- with a contempt masquerading as social criticism. William Hurt, for one, deserves better.
  97. Twelve and Holding
    The young cast is terrific, giving the stories unearned weight.
  98. The Break-Up
    The best bits are incidental: Vaughn's chats with Jon Favreau as his bartender buddy, which are delightful interludes of jostling ego, and Judy Davis, looking like Anna Wintour redesigned by Tim Burton as an undead marionette, laying down the law as Aniston's boss.
  99. Agnes and His Brothers
    Writer-director Oskar Roehler spends all his energy on cataloging ''outrageous'' behavior, and none on giving the transgressions any meaning.
  100. Loverboy
    Bacon instinctively pushes Loverboy toward surreal domestic satire. It's fascinating to watch Sedgwick try to make Emily into a luminous wack job.
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