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. A Good Year
    Nothing more than a bad harvest.
  2. The Box
    It's no coincidence that The Box plays like the world's murkiest Twilight Zone episode. It's loosely based on ''Button, Button,'' a short story by Richard Matheson, who wrote some of the series' greatest scripts.
  3. RED 2
    The best thing about RED 2, like its predecessor, is its lightness of tone. Too many movies with comic-book roots come on too seriously, even when the comics themselves have a loose, fast, jocular wit about them.
  4. The Whole Nine Yards
    A convoluted ''dweeb meets the Mob'' farce in which everyone is trying to kill everyone else, but it's the movie that's the real corpse -- albeit a busy, twitching one.
  5. Boarding Gate
    This one is just murk.
  6. 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.
  7. Shooting Fish
    Wafer-thin, content-light, structure-wobbly, and whimsy-heavy.
  8. The Girl Next Door
    "Risky Business" had a great opening act and then descended into contrivances. This genial cardboard knockoff is contrived from the start but gets better as it goes along.
  9. Tales from Earthsea
    He does an okay imitation of his father's languidly matter-of-fact dreamscapes, but it's hard to deny that a certain vitality is missing in Tales From Earthsea.
  10. Night at the Museum: Secret of the Tomb
    Night at the Museum: Secret of the Tomb has one thing going for it that even many of this season's prestige films don't: It's kind of fun, unembarrassingly, and not least of all because the people who made it look like they had a good time doing so.
  11. He's Just Not That Into You
    He's Just Not That Into You turns romantic sanity into something so sanitized that it starts to make delusion look good.
  12. The Matrix Revolutions
    Among its better tricks, Matrix Revolutions finally gets the love-story subplot of Neo and Trinity in the right proportion.
  13. In the Land of Women
    Combines hugs and ''pain'' and dialogue so fakey-cute it makes your ears hurt.
  14. In the Heart of the Sea
    Howard’s film, for all of its storytelling skill, technical polish, and rousing high-seas sequences, never quite casts the spell it should. It’s too polite to give us a real feeling of life or death. Its sense of danger is watered down.
  15. Bad Teacher
    We're just watching a film try to pass off misanthropic blunt-wittedness as "edge."
  16. Frankie & Alice
    It's just a matter of time, flashbacks, many costume and accent changes, some more jazz, and a triggering tune on the radio before the truth can set Frankie, and the audience, free.
  17. Lions for Lambs
    The tiny scale and armchair talkiness mark the movie as a bit of a folly, an act of idealistic hubris in today's commercial marketplace, yet that's its (minor) fascination too.
  18. The Architect
    Every character in The Architect is crazily stuccoed with crisis.
  19. Lies
    Someone has finally done it -- made a sexually explicit feature that is also a genuine and harrowing work of erotic drama.
  20. Bittersweet Motel
    It's like Woodstock without the mud, and it leaves you feeling clean.
  21. Legally Blonde 2: Red, White & Blonde
    At once brasher and more frivolous, she's a lot less compelling fighting for the welfare of lab-test animals than she was crusading for her own dignity.
  22. Heartbreakers
    Never tickles your nasty bone, perhaps because, in an era when the gossip pages are dotted with news of celebrity prenups, the prospect of marriage as a route to instant fortune seems less scandalous than it does like business as usual.
  23. Flight of the Phoenix
    Refreshingly, it's actually about action, albeit arbitrary action, and how it defines us and keeps us alive.
  24. Ladder 49
    Aside from the awesome flames and pyrotechnic scenes of crisis, danger, and part-of-the-job bravery, the movie is a quiet salute; it does its job.
  25. Burlesque
    Earnestly ersatz down to every spangle, dance move, plot turn, and line of hokum dialogue, Burlesque is a showbiz pic for these American Idol times - a time when we agree to pretend that mediocre mimicry of better artists is good enough to keep us entertained. We agree to pretend that quality is in the eye and ear of the undemanding beholder.
    • 47 Metascore
    • 67 Critic Score
    The Mirror Crack'd
    An adaptation of an Agatha Christie Miss Marple mystery, with Angela Lansbury as the sweet little old sleuth, it has the vitality of a vicar, yet it’s enormously campy fun.
  27. A Cure for Wellness
    Narratively preposterous and probably an hour too long, it’s the year’s first big howler. It could have been DeHaan’s "Shutter Island," but instead it’s just Gore Verbinski’s latest self-indulgent mess following "The Lone Ranger."
  28. Restless
    Annabel and Enoch learn from each other, even as time ticks away and the end draws near. Weeping is invited, but by no means required.
  29. Jack Reacher: Never Go Back
    Like its predecessor it’s an unremarkable placeholder until the next "Mission: Impossible" flick comes along.
    • 47 Metascore
    • 42 Critic Score
    Flyboys
    This is a lost opportunity on an epic scale. The actors are so styled and the dogfights so drippy with CG that, as a period piece, the movie almost looks like it's set in the future.
  31. Monster Hunter
    Plot doesn't really matter, there's not much character development to speak of, but there is a lot of fighting against an endless swarm of enemies.
  32. Pushing Tin
    Makes you wish that Newell and company had had the gumption to finish what they so enticingly started.
  33. Swing Vote
    Costner (who's also a producer) plays to his middle-aged strengths in a role that exaggerates male weaknesses.
  34. Choke
    It's an indelibly warped cartoon of lust and despair.
  35. Halloween Ends
    Before it lumbers to its big showdown — halfheartedly, with all the excitement of a third installment of a third reboot cycle — Halloween Ends is an unusually Michael Myers-free affair. Where's the big guy?
  36. Wish
    Wish is so obsessed with the past that it fails to add anything new of its own. If you’re going to pay tribute to 100 years of Disney magic, you can’t forget to save a little magic for yourself.
  37. 1492: Conquest of Paradise
    At 2.5 hours, 1492 is even harder to sit through than last month’s schlock extravaganza Christopher Columbus: The Discovery. In each case the filmmakers have fallen into a similar trap. Out of some vague mixture of historical ”duty” and commercial myopia, they’ve presented Columbus as the same cardboard visionary we learned about in school.
  38. Where the Truth Lies
    A mood of lush romantic decadence -- sleaze made enigmatic -- hovers over Where the Truth Lies, which has a score that works so hard to evoke "Vertigo" that it may leave you dizzy.
  39. The Trouble with Men and Women
    Some movies make love look schematic. The Trouble With Men + Women makes those films look stunningly insightful.
  40. The Shipping News
    A limp and sodden downer.
  41. The Legend of Bagger Vance
    There's not a moment in Bagger Vance that can't be anticipated.
  42. The Last Shot
    Teetering on an abyss of meta-wackiness, The Last Shot -- a movie about movie fakery, based on a true story about a fake movie -- succeeds modestly where, by all rights, it should fail miserably.
  43. I Am David
    The movie meets the requirements of the "Life Is Beautiful" school; those loyal to the tougher, more stringent Osama academy of realism need not apply.
  44. Luther
    Rising above the throng is the great wreck of Sir Peter Ustinov, who, as the canny, saucy German Prince Frederick, distinguishes both himself and the movie.
  45. Shall We Dance
    The movie never gives its heart freely and honestly to the satiny whirl of post-"Chicago" showbiz spectacle it so clearly wants to be.
  46. Halloween (2007)
    This Myers is more problem child than bogeyman.
  47. Young Guns II
    Whenever a few of the Young Guns get together and have to behave like soulful cowboys, the movie stops dead in its tracks. The trouble with so many of today’s young actors is that there’s no deep-seated yearning or fury in their performances. They just seem like well-adjusted California kids putting on a show for a few hours.
  48. Reno 911!: Miami
    The characters are perfectly evolved screwups and the premise has potential. It lacks only the discipline of a 30-minute episode -- or a YouTube video.
  49. 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.
  50. Senior Year
    The extremely game presence of actors like Zoë Chao, Veep's Sam Richardson, and This Is Us's Justin Hartley (as the dimpled bohunk she left behind) help anchor the chaotic wisp of a plot that follows, as does Wilson's barrelling, blithely crass energy.
  51. The Hitman's Bodyguard
    The Hitman’s Bodyguard is strictly an Economy Coach experience, but it’s brainlessly fun enough in a late-’90s Brett Ratner buddy-comedy kind of way.
  52. 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."
  53. Poltergeist
    The only really frightening thing about the 2015 version of Poltergeist is how haunted it is by the original.
  54. Primal Fear
    Gere taps into his charismatic-weasel mode, but director Gregory Hoblit fills the big screen with excellent TV actors (Andre Braugher, John Mahoney, Maura Tierney) and then gives them nothing interesting to do.
  55. The Day After Tomorrow
    A decent disaster pic comes down to the handful of colorful individuals who will live (or, depending on the prominence of their billing, die), as it has since the days of chewy disaster meatballs like ''The Towering Inferno'' and ''Earthquake.'' And the heaviest lifting in Emmerich's production falls to Dennis Quaid and Jake Gyllenhaal.
  56. Blood In, Blood Out
    What the movie needed was the kind of dark explosion of star temperament that Sean Penn brought to 1983’s Bad Boys. Still, give Hackford this: He does a vivid job of taking you places you may not think you’d want to go.
    • 47 Metascore
    • 42 Critic Score
    Hercules
    When Johnson is wearing the head of the slayed Nemean lion in battle, walloping enemies with his tree-trunk sized club, and heaving charging horses to the ground with remarkable ease, he's in his Rock comfort zone. But as a tortured hero hampered by self-doubt, Johnson labors.
  58. Nine Months
    If there were a scale for measuring how much of a movie’s substance was pure plastic, Nine Months, the new maternity comedy directed by Chris Columbus (Mrs. Doubtfire), would surely register dangerously high polymer levels.
  59. Oscar
    Every chuckle feels engineered. Stallone is reduced to playing straight man to a gaggle of stock Damon Runyon hoods, though Tim Curry, looking like a stuffed cod, brings a prissy, nerdish glee to the role of a madly obsequious linguistics professor.
  60. The Legend of Zorro
    Banderas uses all his old wiles in this well-oiled, businesslike, quite clangingly violent sequel to "The Mask of Zorro."
  61. Irresistible
    In a world where a morning tweet can feel as dusty as the Dead Sea Scrolls by nightfall, it almost seems like madness to try to capture this current political moment on film.
  62. 27 Dresses
    27 Dresses is a movie geared to a pitch of high matrimonial-princess fever.
  63. Crouching Tiger, Hidden Dragon: Sword of Destiny
    It’s a shame the rest of the soap-opera story doesn’t measure up to its stunts.
  64. Mouth to Mouth
    Writer-director Alison Murray picks at a hard, true hurt in this zombie melodrama of defloration, but nothing beyond that hurt really comes into focus.
  65. Masterminds
    Masterminds has been “coming soon” for so long it would put "Batman v Superman" to shame, but the end result is an entertaining comic thriller with physical showcases for many of Saturday Night Live’s best recent veterans.
  66. The Time Traveler's Wife
    Bana and McAdams are sweet together, with matching dimples and starry eyes, and we grow eager to see them remain in the same place. In the end, that's all there is to the movie, really. It's a time-travel fantasy in search of a cozy love seat.
    • 47 Metascore
    • 25 Critic Score
    Blade
    The action involves lots of second-rate martial-arts choreography (made even less thrilling by the video's pan-and-scan job), while the psychological conflicts are filled with unconvincing angst.
  68. Daylight
    Had Latura et al. paused for even a moment to acknowledge what they were doing, Daylight might have been a whole other ball of fire.
  69. Practical Magic
    A witch comedy so slapdash, plodding, and muddled it seems to have had a hex put on it.
  70. Black and White
    A pulsating snapshot of America caught in a mad, liberating identity crisis.
  71. The Prince and Me
    In a series of endings, she, and the audience, are falsely promised that she can have it all. In other words, The Prince & Me is committed to the controversial American policy of No Fantasy Left Behind.
  72. Man on Fire
    The movie's mortal failing is echoed in the religious medal Pita gives Creasy in a gift of innocent, uplifting love: Finding heft or coherence within all the lugubrious agitation is a lost cause worthy of St. Jude.
  73. Silver City
    Silver City may be the mustiest political-conspiracy tale ever filmed; it's like "Chinatown" rewritten by Ralph Nader.
  74. Herbie Fully Loaded
    For those newbies, this update, starring peppery Disney re-do queen Lindsay Lohan as wannabe car racer Maggie Peyton, is as serviceable an introduction as any to the notion of a sentient set of wheels.
  75. The Game of Their Lives
    Coaching from the same playbook with which they made "Rudy" and "Hoosiers," director David Anspaugh and screenwriter Angelo Pizzo create a reverent fable.
  76. The General's Daughter
    The plot is a nonsensical mess -- which just caps off the ugliness.
  77. Heaven Is for Real
    Heaven is for Real has lots of sweet, Rockwellian imagery of small-town life and family high jinks. What it doesn't have is dramatic tension.
    • 47 Metascore
    • 42 Critic Score
    The Giver
    It falls apart with a slapdash final act that doesn't work as drama or action and only serves to undermine Jonah's heroics.
  79. Ong Bak 2
    Jaa, mesmerizing as ever to behold with his pinwheel moves, also (co)directs for the first time.
  80. Wyatt Earp
    This strenuously dark biographical Western plays more like a choppy, self-important miniseries.
  81. Monogamy
    Irksome dither of an indie drama.
    • 47 Metascore
    • 42 Reviewed by
      Ty Burr
    Empire Records
    The movie is too blatant a throwback to crass '80s teen fodder to really work.
  83. Blair Witch
    Blair Witch is the Hollywoodication of a film that defied the industry, and it works because of the profound respect for the original that hides beneath camera work that’s too good and a cast that’s too attractive.
  84. The Skeleton Key
    For anyone zombified by creaky thriller clichés, Skeleton is a fine little shot in the head.
  85. Hotel Transylvania
    It's the parental mush about trusting one's kid to make her own discoveries and blah blah blah (spoken in a Sandlerized version of a Dracula voice) that drains the movie of blood. What's left are platitudes, and Sandler singing a novelty song in a Transylvanian-accented falsetto.
  86. Rock of Ages
    Most of the numbers in Rock of Ages are flatly shot and choreographed, and they look as if they'd been edited together with a meat cleaver. With rare exceptions, they don't channel the excitement of the music - they stultify it.
  87. The X Files: I Want to Believe
    Older and sadder, Mulder and Scully are no longer sure they've got the energy to even ask if the truth is still out there. And it feels as if Carter is skeptical, too.
  88. 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.
  89. Like Mike
    Like Mike has the synthetically wrapped pseudo-charm of a perfunctory ''Flubber'' sequel.
  90. Hollywood Homicide
    Is it, you know, fun? At times. Yet there's a rote quality to the way this half-dumb, half-sly movie resolves itself into an intentional debauch, a pileup of villainy and heavy metal. The only California dream it leaves you with is one of wretched excess.
  91. U.S. Marshals
    Efficient, uninspired sequel.
  92. Cats & Dogs
    The plot and script sag like worn out chew toys just when Cats & Dogs should be in full squeak.
  93. Big Trouble
    There are stretches of big fun in Big Trouble, and little pleasures too.
  94. The Alamo
    Never harmonizes into a cinematic experience any more resonant than the average, manly, why-we-fight pic, or coalesces into a stirring cry for freedom.
    • 47 Metascore
    • 75 Critic Score
    Psycho
    The film is shot in color and includes an amped-up Danny Elfman version of Bernard Herrmann's haunting score.
  96. The Odd Life of Timothy Green
    The movie should have been called Diary of a Wimpy Forrest Gump. It's genuinely soft-hearted (you're all but guaranteed to cry) but mush-brained, too.
  97. Semi-Pro
    The big goofball relies too much on the funny hair and swingin' postures of the era as punchlines in themselves.
  98. The Witches
    This Witches, alas, has the misfortune of doubling down on all the late writer's eccentricities, while somehow finding only a fraction of his magic.
    • 47 Metascore
    • 42 Critic Score
    Lakeview Terrace
    Jackson is the best thing here.
    • 47 Metascore
    • 25 Critic Score
    Only the Lonely
    Only the Lonely is for only the desperate.
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