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. Everybody's Fine
    Calculatedly soppy, seasonally phony Americanized remake of Giuseppe Tornatore's 1990 "Stanno Tutti Bene."
  2. Kate
    Subtle it's not: Kate is red-meat storytelling, all broad outlines and crunched bones. But there's a visual wit and visceral energy to it that other recent efforts (the pop-feminist comic-book gloss Gunpowder Milkshake, also on Netflix, and Amazon Prime's spectacularly silly Jolt, featuring a rampaging Kate Beckinsale) struggle to find.
  3. November
    The depth of the story and the characters is awfully slight to bear the weight of such fancy editing. But the performances are crisp and in focus, with Cox in particular showing a photogenic feel for expressing grief.
  4. Just Like Heaven
    That Just Like Heaven succeeds at all - at least for teenage girls with limited interest in the drafting of living wills - is due entirely to Witherspoon's can-do charisma.
    • 47 Metascore
    • 91 Critic Score
    Love Potion #9
    It’s the height of silliness: An elixir makes two wallflowers (Tate Donovan and Sandra Bullock) irresistible. But the blithe comedy Love Potion #9 is both playful and sweet — and its modest intentions fit the small screen snugly.
    • 47 Metascore
    • 50 Reviewed by
      Ty Burr
    Mr. Jones
    In short, a little too spongy for high- quality junk food.
  7. The A-Team
    The whole movie is a diversionary activity. It's trash so compacted it glows.
  8. The Passion of the Christ
    Tempting as it may be to dismiss Mel Gibson as a glorified pain freak, dressing up a martyrdom fantasy in Aramaic and Latin, it would be more accurate, I think, to say that the filmmaker, a Catholic fundamentalist, presents his torture-racked vision of Jesus' last 12 hours on earth as a sacred form of shock therapy.
  9. Just Friends
    Argues on behalf of the Darwinian theory that all of life imitates high school...But the argument is only halfhearted. Just Friends is much more interested in - and hilarious about - the small nostalgias of suburbia.
  10. Hey Arnold! The Movie
    The ethical, independent-minded kid has his unhip charms, and so does Hey Arnold! The Movie.
  11. The Other Side of the Bed
    While we can agree, for the sake of Iberian-American cinematic friendship, to go along with the whole simplified 1960s swinger premise and ''The Jackie Gleason Show'' choreography, we can also long for the comparatively nuanced 1990s swinger premise of ''Friends.''
  12. Anything But Love
    The frustration of this good-hearted, off-key warble of an indie, written by Rose with Robert Cary, who directed, is that the filmmaking pales when compared with the classic elements of 1950s and early '60s romantic musicals to which it pays homage.
  13. In Secret
    There’s never any doubt that this will end badly for the lovers. But just in case, Jessica Lange as the fire-breathing mother-in-law seals the deal.
  14. Predator 2
    The whole noisy movie is really just a setup for the climactic duel between renegade cop Danny Glover and the monster. By that point, you’re pathetically grateful for a few stomach-churning special effects.
    • 46 Metascore
    • 42 Critic Score
    Home Alone 2: Lost in New York
    Here, the signs of Culkin’s limitations begin to emerge.
  16. Forces of Nature
    The movie has the structure of a madcap romantic chase without the wiggy, busting-out freedom.
    • 46 Metascore
    • 42 Reviewed by
      Ty Burr
    The Thing Called Love
    You sense River Phoenix would rather be elsewhere, and whether he’s responding to the movie or to something larger is not ours to say. But the feeling persists. It’s like watching a premature ghost.
  18. Around the Bend
    It's the showy story, script, and even staging that wear a fella out in this relentlessly precious feature debut by writer-director Jordan Roberts.
  19. Newsies
    It has been put together with just enough efficiency to qualify as an oddball labor of love.
  20. The Dilemma
    The dilemma of The Dilemma is that the conundrum at the center of the story isn't particularly hilarious.
  21. Gringo
    While the fish-out-of-water caper is stuffed with whiplash turns and colorfully eccentric lowlife characters, it never adds up to much. It’s so busy you might think there’s more to it than they’re really is.
  22. Wonder Wheel
    It’s undercooked even by the filmmaker’s own late-career standards. Yes, Coney Island has never looked more gorgeously golden-hued (thanks to cinematographer Vittorio Storaro), but Allen has seldom been less sharp.
  23. Now You See Me 2
    Jon M. Chu (several Step Up movies) has taken over directing duties from Louis Leterrier, and he has a lighter, goofier touch. He seems to get that the silliness is baked in.
  24. Miss Julie
    Figgis never frees the play enough from the stage to fill the screen.
  25. Dr. Dolittle
    Director Betty Thomas demonstrates her expertise at keeping indulgence at bay in even the coarsest of comic situations.
  26. Payback
    Payback is a thriller so mean and degraded it carries a low-down, vicious charge. Sadism is its only real subject, and its only real life as well.
  27. Red Tails
    As long as it stays in the air, Red Tails is a compelling sky-war pageant of a movie. On the ground, it's a far shakier experience: dutiful and prosaic, with thinly scripted episodes that don't add up to a satisfying story.
  28. The Broken Tower
    It’s a pensive and heartfelt movie, assuming that you let yourself get caught up in its moody-minimalist, more-visual-than-verbal style.
  29. Agnes and His Brothers
    Writer-director Oskar Roehler spends all his energy on cataloging ''outrageous'' behavior, and none on giving the transgressions any meaning.
  30. Clay Pigeons
    It's young-Hollywood-driven business as usual in this derivative, nasty, and ultimately empty drama.
  31. Deliver Us from Eva
    Union, who looks so chic and can talk so bitchy-funny, doesn't so much establish a character as roll out a series of attitudes. That's all she's called on to do. That's all anyone is called on to do: Be very tame, and make much ado about zilch.
  32. The Nanny Diaries
    For a light comedy, The Nanny Diaries turns out to have an off-putting theme. It glorifies the romance of slumming.
  33. Reservation Road
    There's a kind of tough beauty to this deft, satisfying thriller.
  34. Picture Perfect
    Another contemporary story about a woman with a successful career punished with a lousy personal life.
  35. Dr. Seuss' The Lorax
    The movie is like a less original "WALL•E," but it's still vibrant and touching.
  36. The Super Mario Bros. Movie
    It's all quite fun, with a good sense of humor and a consistent computer-animated aesthetic — plus, at 90 minutes including credits, it's short, sweet, and over before anything can get annoying.
  37. The Oranges
    What starts off as a neighborhood scandal becomes a liberating thing for everyone involved - an attitude that seems as if it's trying to be oh so European, and might have been had the director, Julian Farino, not been working so hard to convince us of the Deep Inner Goodness of everyone involved.
  38. Toy Soldiers
    It’s Dead Poets Society meets Die Hard. The movie is competent, smoothly photographed, and pretty much free of false, baby-Rambo heroics. It’s so inoffensive that you can almost overlook its central drawback — that the students don’t have much personality.
  39. Seed of Chucky
    By far, the most shocking carnage is Tilly carving up her persona. What a doll.
  40. We Are Your Friends
    The film fakes emotion with flashing lights and a pulsing soundtrack, and before Cole realizes the music was in him this entire time (ugh), the story falls flat
  41. Ashby
    Rourke, whose face has become an inexpressive waxwork in recent years, doesn’t do much with what’s already a pretty undercooked role.
  42. Extremely Loud and Incredibly Close
    A polarizing load of quirkiness in Extremely Loud gunks up (at least for this hometown mourner; your results may vary) what is at heart a piercing story.
  43. Immortals
    What saves Immortals as a moviegoing experience is the exuberant, kid-in-a-candy-store virtuosity of its director, former music-video wunderkind Tarsem Singh (The Cell).
  44. Extinction
    Director Miguel Ángel Vivas tries to add a family-drama twist to an otherwise standard survival story, but the characters aren’t complex enough (and the secrets aren’t explosive enough) to elevate this beyond a basic zombie flick.
  45. Tank Girl
    Petty, though, is the only reason to see this coy and scrappy comic-book adventure-a trash bin of sci-fi detritus.
  46. Mirror Mirror
    A dull and unbewitching movie.
  47. Breakin' All the Rules
    The rules of good screenwriting are mostly broken, though Jamie Foxx's smash-and-grab charisma remains intact.
  48. 28 Days
    Bullock gives it her all; she's bristling and alive on screen in a way that she hasn't been since ''Speed.''
  49. Beyond the Sea
    Weirdly moving.
  50. The Calling
    The Calling shares a little too much with atmospheric TV mysteries like "The Killing" and "Broadchurch": the hard-living female detective, the cloudy weather, the small-town existentialism.
  51. The Ringer
    The surprise of The Ringer is that the movie is pretty damn funny.
  52. The Sorcerer's Apprentice
    The Sorcerer's Apprentice is too long, and it's ersatz magic, but at least it casts an ersatz spell.
    • 46 Metascore
    • 42 Critic Score
    Ravenous
    Oddball period tale of cannibalistic shenanigans.
  54. Johnny English Reborn
    Fans of sophisticated humor may feel empathy with, if not sympathy for, the lead character on those many occasions he is kicked in the nuts.
  55. Kafka
    The movie is MTV Kafka: Instead of dialogue, character, behavior, it has a look and a mood. And that's all it has.
  56. Next Day Air
    If the movie doesn't even care about its characters, then how can we?
  57. You, Me and Dupree
    Isn't a very funny movie (it preaches nonconformity in the rote style of an overlit sitcom), but Wilson, at least, keeps it afloat.
  58. Rebecca
    With or without that hallowed history, it's hard not to feel the lack of something in director Ben Wheatley's lush, ponderous update — the most obvious thing, perhaps, being Laurence Olivier and Joan Fontaine.
  59. You Should Have Left
    Even at 93 minutes, the material feels thin, and so does its moral message. But the movie's goofy, blunt-edged claustrophobia may also be its greatest gift to viewers: the chance to be grateful that the only ones haunting our own homes right now are us.
  60. Tommy Boy
    Just when you thought you’d erased the memory of Adam Sandler in Billy Madison playing a slobbo idiot who must prove he’s worthy of taking over his father’s business, along comes Chris Farley playing a slobbo ; idiot who must prove he’s worthy of taking over his father’s business. Yet this movie, unlike Sandler’s fiasco, does at least have a few scuzzy laughs.
  61. Manderlay
    Manderlay is turgid and hollow.
  62. Airheads
    The film’s most distinctive, if obnoxious, feature is the coy, look-at-what- an-adorable-doofus-I-am clowning of Adam Sandler, who here, as on Saturday Night Live, parades his ironic infantilism.
  63. Hackers
    It's a dismal mess...What's most grating about Hackers, however, is the guileless way the movie buys in to the computer-kid-as-elite-rebel mystique currently being peddled by magazines like Wired.
  64. Reminiscence
    Writer-director Lisa Joy (Westworld) seems to be aiming for an Inception-style metaphysical mind-bend, with the sci-fi jolt of Minority Report and a bleak splash of Waterworld. But her intentions get lost in some cloudy marine layer in between, sunk by hammy hard-boiled dialogue and a story that leaves logic at the door.
  65. She's Out of My League
    If you're hungry to see a romantic comedy about a genetically and culturally imbalanced geek-meets-babe relationship that makes the one in Knocked Up look like the quintessence of plausible human mating, then by all means subject yourself to the one-joke sub–Judd Apatow snark-athon that is She's Out of My League.
  66. Sin City: A Dame To Kill For
    The overall effect is less titillating than numbing.
  67. The Comedy
    The Comedy pretends to be a satire of entitlement, but it's made in a style so indulgent that the whole film feels entitled in the extreme.
  68. How Do You Know
    How Do You Know asks really good questions but doesn't so much answer them as toss the ball from player to player until the clock runs out.
  69. King Arthur
    In a movie like this one, a little madness is its own Holy Grail.
  70. Hostel: Part II
    An authentic real-world creep show -- better, if anything, than its predecessor.
  71. The Nun
    When it leans into its camp, (I.e. when the French-Canadian “Frenchie” is on screen), The Nun comes closest to its ideal form of go-to midnight-movie, the fun younger cousin of the Conjuring movies with less build-up but more of the money shots you’ll come to a theater to see.
  72. If I Stay
    If I Stay never bothers to go after authenticity when there's a cliché hovering nearby. That may not be enough of a drawback to prevent teenage audiences from lapping up the movie with a spoon, but they certainly deserve better.
    • 46 Metascore
    • 25 Critic Score
    One Night at McCool's
    More than just dumb, the picture is embarrassingly dorky.
  74. Dog Park
    This shambling romantic comedy...clings to a sensibility that's imperviously, uncompromisingly Canadian.
  75. Secret Window
    Doesn't keep any secrets but an open one: that Johnny Depp is on a roll, and actor's block is definitely not his problem.
  76. White Sands
    White Sands, on the other hand, is a dud, the sort of movie that swathes its emptiness in layers of chic, swirling ”visuals.”
  77. Fast & Furious
    It offers an attractive getaway route from self-importance, snark, and chatty comedies about male bonding. Here, stick shifts do the talking.
  78. Dangerous Minds
    Yet despite its promising pedigree, Dangerous Minds has a slick, syrupy fraudulence -- it's like an Afterschool Special made for MTV.
  79. Hoot
    Don't let the Carl Hiaasen pedigree fool you: Hoot is an Afterschool Special too crummy to give a hoot about.
  80. Fifty Shades of Grey
    I spoil nothing by reporting what readers already know, that when Fifty Shades is not a dirty story, it is, as the trilogy unfolds, a study in cartoonishly weird family dynamics.
  81. Rebel in the Rye
    You won’t find much new light shed on the reclusive author of The Catcher in the Rye in writer-director Danny Strong’s polished but cliché-festooned biopic Rebel in the Rye.
  82. Shotgun Wedding
    This Wedding clearly wasn't meant to be a masterpiece, but even as mid-winter fluff it feels like a rush job: a marriage made for lazy-Sunday streaming at best, 'til death — or more likely, a better script — do you part.
    • 46 Metascore
    • 50 Reviewed by
      Ty Burr
    Undercover Blues
    The movie’s a dog, but you almost wish for a sequel, if only to do right by these two.
  84. The Ghost and the Darkness
    But the very thing that drew the two actors to this ripping yarn — their enchantment with playing archetypes of male power — is the very thing that undoes their awfully big adventure.
  85. Finishing the Game: The Search for a New Bruce Lee
    The film completely misses what should have been its real target -- the filming of Game of Death, a martial-arts campfest worthy of Edward D. Wood Jr.
  86. Capone
    Maybe what's most frustrating is how much the movie's deeper themes — morality, mortality, the twilight of power — churn intriguingly at the edges of nearly every scene only to turn toward sentiment, or become merely secondary to its relentless focus on his physical decline. There’s merit, of course, in exploring the good and bad in every man, even one as notorious as this one; Capone, in the end, just settles for ugly.
  87. The Da Vinci Code
    The surprise, and disappointment, of The Da Vinci Code is how slipshod and hokey the religious detective story now seems.
  88. The Basketball Diaries
    It's an energetic, watchable mess.
  89. Welcome Home, Roscoe Jenkins
    Mo'Nique is similarly given little opportunity to show off her indisputable comedic chops, though her freewheeling monologue during the closing credits hints at what might have been.
  90. Bonneville
    Ladies! Thelma and Louise drove a '66T-bird, remember?! They picked up a young male hitchhiker 17 years before you did, and they too, um, interacted with a trucker and admired magnificent American sunsets -- is it coming back to you? Nope, it's not, which is exactly why the tires are so low on this creaky vehicle.
  91. Hollywood Ending
    For Woody, it's looking more and more like the end of his days of whine and neurosis.
  92. Bruce Almighty
    Carrey isn't afraid to go happily psycho, like Peter Sellers or Eminem on his funniest tracks, and that's his edge.
  93. Conspiracy of Silence
    Want Jesuitical fineness of argument? Look elsewhere. This one merely answers the prayers of those looking for an argument.
  94. Saw
    Saw is a gristle-cut B psycho thriller that would like to tap the sickest corners of your imagination. It has a few moments of nightmare creepiness, but it's also derivative and messy and too nonsensical for its own good.
  95. How the Grinch Stole Christmas
    If anything, the real surprise here is how affecting he makes the Grinch's ultimate big hearted turnaround, as Carrey the actor sneaks up on Carrey the wild man dervish. In whichever mode, he carreys the movie.
  96. 95 Miles to Go
    The mangy joke in the defiantly homemade documentary 95 Miles to Go is that Ray Romano on a business trip is no different from any other schmo, minus the autograph signing.
  97. CJ7
    Trivial and charmless.
  98. Horns
    It seems to have been made by people who couldn't decide if their film was a horror flick, a whodunit, or a "Hellboy" knockoff.
  99. The Meg
    It is ridiculous, cheesy popcorn fun. And Statham, God bless him, knows exactly what kind of guilty pleasure he’s signed on for — Sharknado with a bigger budget and a much bigger monster.
  100. Project X
    Project X, likewise, serves up the frat house/Spring Break/Snooki-and-Sitch-on-a-bender antics that many in the audience will have been staring at for years, and implies that it's breaking down bold new barriers of misbehavior. In the end, though, it ain't nothin' but a party.
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