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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    • 45 Metascore
    • 58 Critic Score
    The Marine
    A delectably bad '80s-style actioner.
  2. Things to Do in Denver When You're Dead
    Its greatest achievement is that there isn't a single convincing scene in it.
  3. JeruZalem
    The niftily claustrophobic use of actual Jerusalem locations offers a nice holiday from the more familiar backdrops favored by the POV genre.
  4. Click
    At times dark and at other times gooey.
  5. Blindness
    As the players enact the fall and rebirth of civilization, Meirelles suggests that even a society gone to hell looks better with a little music-video-like pizzazz.
  6. Here and Now
    But for most of the film, Parker’s Vivienne is bland and forgettable. A scene where she sleeps with the drummer in her backup band is supposed to be titillating but instead feels perfunctory.
  7. The Leisure Seeker
    When a sunset romance does come along, you can’t help but root for it. Which is why it gives me no joy to report that The Leisure Seeker is pretty disappointing.
  8. Elizabeth: The Golden Age
    Too bad Kapur's new, glittering sequel also shows up feeling prematurely old, square, and cautious. A production of exquisitely complicated wigs and expensively grand wide shots, it pauses often to admire its own beauty, leery of messing with previous success.
    • 45 Metascore
    • 83 Critic Score
    Pride and Glory
    Edward Norton is in top form as Ray, a burned-out detective whose investigation into the deaths of four cops leads him to suspect his brother-in-law, Officer Jimmy Egan (Colin Farrell, also terrific).
  10. Sweet Home Alabama
    Unbearable were Witherspoon not such a genuinely attractive performer.
  11. Jefferson in Paris
    Bereft of any flesh-and-blood honesty, the last half of the movie plays like a ludicrous PBS version of "Mandingo."
  12. A Liar's Autobiography - The Untrue Story of Monty Python's Graham Chapman
    It's like watching "Yellow Submarine" laid over a celebrity-therapy episode of Dr. Phil.
  13. Upside Down
    Upside Down is a very fancy piece of junk.
  14. Taken 2
    You know what happens in Taken 2, don't you? The same thing that happened four years ago in Taken, but different. (But the same.)
  15. Intruders
    Owen devotes himself to the horror-flick role of a father battling his daughter's monsters with the same trademark efficiency and intensity he brings to every project, whether pulpy like "Killer Elite" or pure like "Shadow Dancer."
  16. It Takes Two
    It seems only fitting that the flavorless Guttenberg would land in this smooth tapioca concoction, but Alley deserves better.
  17. The Distinguished Gentleman
    All The Distinguished Gentleman has is Eddie Murphy doing his best to be the life of the party. By the end of the movie you wish he would just go to another party.
  18. Step Up 3-D
    Step Up 3D isn't, in dramatic terms, a very good movie, but it's the first film in a while to use 3-D as more than a marketing ploy; it points toward an original way of making a musical.
    • 45 Metascore
    • 83 Critic Score
    My Summer Story
    Imagine Garrison Keillor narrating a series of Norman Rockwell paintings and you’ll have a very good idea of what My Summer Story is all about. Nostalgic and gently humorous, this sequel to 1983’s A Christmas Story continues the adventures of Ralph Parker in the prepubescent universe of bullies, parents, best friends, and no girls.
  20. Hall Pass
    Hall Pass would like to be as dunked in reality as Judd Apatow's best comedies, but the movie is thin. The Farrellys can't quite nudge the characters from two dimensions to three.
    • 45 Metascore
    • 33 Critic Score
    The Fast and the Furious: Tokyo Drift
    Gets lost in translation.
  22. Sydney White
    "Revenge of the Nerds" is way cooler in its proud defense of geekosity, no question. But anti-ditz role model Amanda Bynes just happens to be cute.
  23. I Love You to Death
    I Love You to Death is strenuously unclever.
  24. Loverboy
    Bacon instinctively pushes Loverboy toward surreal domestic satire. It's fascinating to watch Sedgwick try to make Emily into a luminous wack job.
  25. Step Up: All In
    The space between the spectacles are just too laborious, creating the odd sensation that there's not quite enough dance in this dance movie.
  26. Elizabethtown
    Think of Elizabethtown as Cameron Crowe's rambling amateur travelogue, one from a well-liked professional filmmaker momentarily so distracted by private notes scrawled on his souvenir map that he gets lost en route to telling his story of self-renewal. This undershaped, overlong warmedy is an homage to the memory of his late father.
  27. Home Fries
    Adorable or what?
  28. The Statement
    If any actor could reveal the squirmy soul of a war criminal, it's Caine, so it feels like a cheat when The Statement gives him nothing to portray but self-condemnation.
  29. Vanilla Sky
    If Crowe's eyes are open, he seems to have directed most of Vanilla Sky with his mind wide shut.
  30. The Situation
    An overstuffed, unengaging drama that makes time for a love triangle.
    • 45 Metascore
    • 58 Critic Score
    Teenage Mutant Ninja Turtles II: The Secret of the Ooze
    Neither as fun nor as faithful to the spirit of the original comics. It’s a bigger, slicker movie, but not a better one.
  32. The 15:17 to Paris
    Eastwood seems to be reaching for some level of realism, but when every single interaction feels like half-coded AI tried to recreate bro talk, it’s clear that a mistake has been made.
  33. Pride and Prejudice and Zombies
    The result should appeal to Austen aficionados and horror hounds alike—which is not a sentence you get to write too often.
  34. Surrogates
    There's fun robot stuff, some good philosophical ideas, and a brief, nutty Willis-Ving Rhames reunion 15 years after "Pulp Fiction."
  35. South of the Border
    Yes, Stone gets cozy with Hugo Chávez, soft-pedaling the Venezuelan president's crackdown tendencies, but he also captures South America in a paradigm shift, wrenching itself free of centuries of colonial control. The film is rose-colored agitprop, but it catches a current of history.
  36. Fanboys
    Mildly cute, mildly drooly, majorly too late spoof/homage.
  37. The Rhythm Section
    In the second half, the movie even manages a few rare moments of visceral thrill, and even something like catharsis. But nothing ever quite gels; instead, the story just keeps banging toward its bloody conclusion, always a little off the beat.
  38. The Burning Plain
    The scenery (prettily captured by There Will Be Blood cinematographer Robert Elswit) is littered with heavy symbolism (fire! rain! dead birds!); the performances are merely heavy.
  39. Snatched
    As Snatched’s blonde-leading-the-blonde farce careens on, it stumbles into moments of deranged inspiration.
  40. The Hottest State
    Whatever you're imagining -- self-serving self-awareness; unedited hipster mopes; yammering dear-diary script -- The Hottest State, Ethan Hawke's bathetic tale of a good-looking young actor's first heartbreak, is far worse.
  41. Meet the Browns
    The importance of faith, church, kin, staying off drugs, sharing food, repenting from sin, forgiving sinners, appreciating a good black man, rejecting a bad one, and honoring black matriarchy is enumerated with typical, reassuring Perry broadness.
    • 45 Metascore
    • 58 Reviewed by
      Ty Burr
    Just Looking
    The pacing is lumpy, the acting's all over the map.
  43. Novocaine
    There are many things wrong with Novocaine, but the film's most gnawing pain is its clodhopper farfetchedness.
  44. Full Frontal
    Even by Soderbergh's standards of serious playfulness/playful seriousness, Full Frontal is a tricky novelty item: The director himself has variously described it as an ''experiment,'' an ''exercise,'' and a ''sketch.''
    • 45 Metascore
    • 58 Critic Score
    Bobby Jones: Stroke of Genius
    It's pleasing to see Jones triumph, digging his way out of sand traps with miraculous wedge shots, but ''Stroke of Genius'' is proof that when a movie is nothing but inspirational, it can sink and disappear into a field of dreams.
  46. EuroTrip
    In the world according to Eurotrip, the Europeans may be a twisted, outdated, ridiculous lot, but what defines them is that unlike the Americans, they've never quite evolved to irony: They treat even the scuzziest habits with dire sincerity.
  47. Kicking & Screaming
    Kicking & Screaming may be a prefab cartoon out of the "Bad News Bears" cookie cutter, but Ferrell doesn't just save this junk -- he rules it.
  48. Hesher
    As the checkout girl everyone's got a crush on, Natalie Portman makes a winsome return to her "Garden State" gawkiness.
  49. Madea's Family Reunion
    Let's not sell Tyler Perry short. As the vinegar-witted Madea, he's a drag performer of testy charm, but in his overlit patchwork way he's also making the most primal women's pictures since Joan Crawford flexed her shoulder pads.
  50. Descent
    It's been a while since we saw a demagogic feminist exploitation revenge drama, and Descent, while top-heavy with ''agenda,'' is shrewdly done.
  51. Ghostbusters: Afterlife
    There are some jokes here — Paul Rudd brings a little lightness to the proceedings as the kids' science teacher, Mr. Grooberson — but it's hard to escape the overall sensation of, well, a corpse being exhumed.
  52. Smokin' Aces
    A cheerfully disposable gangland freak-show thrill ride that's been directed by the gifted Joe Carnahan (Narc) as if he were trying to give the audience a seizure.
  53. Mean Machine
    After too many ''Full Monty''s, it has come to look like nothing so much as a coy ritual of emasculation.
  54. Indecent Proposal
    Indecent Proposal starts out kinky and turns into a languid-and shockingly banal- domestic soap opera.
  55. Secret in Their Eyes
    In Ray’s hands, it’s essentially a grim procedural with too many moments of untapped potential and a moderately shocking twist. Save his version for a rainy day or a long airplane ride; or better yet, go rent the original.
  56. Twin Peaks: Fire Walk with Me
    At once hypnotic and baffling, filled with surreal motifs and symbols, Fire Walk With Me could be the most rarefied teen horror film ever made: It's like "A Nightmare on Elm Street" directed by Michelangelo Antonioni.
  57. Stella
    Stella is never dull, but by the time it replays the famous Barbara Stanwyck-in-the-rain scene, it’s jerking camp laughter instead of tears.
  58. Country Strong
    The film keeps throwing things at you: drunk scenes, adultery scenes, "All About Eve" rise-of-the-young-rival scenes. Yet despite the presence of some appealing actors, none of it quite adds up.
  59. Rampage
    It never makes up its mind whether it wants to be a what-hath-science-wrought disaster movie like those old John Sayles cheapie classics Piranha and Alligator, or just a big, dumb, and loud tongue-in-cheek action comedy. It’s a movie that’s afraid to pick a lane.
  60. The Expendables
    The way that Stallone directs, though, every machete thrust and relentless round of bullet spray is staged with a certain undeniable...conviction.
  61. The Warrior's Way
    There isn't a shred of subtlety in their clowning - or in any part of the movie, which clumsily shoots for operatic highs and lows. But with so many borrowed bits and pieces, the only feeling it successfully evokes is déjà vu.
  62. S.W.A.T.
    Aware of its own cuteness because the dialogue plays by the rules of meta-entertainment.
  63. How to Lose a Guy in 10 Days
    With its ungainly double-deception premise, How to Lose a Guy feels like it was made out of two connect-the-dots drawings laid haphazardly on top of one another.
  64. The Kid
    A parable for adults -- particularly men.
  65. She's Funny That Way
    She’s Funny That Way is posted as a love letter to the classic screwball comedies of Hollywood’s golden age, but delivers ersatz Woody Allen instead; it’s like "Bullets Over Broadway" minus the mob plot and 90 percent of the charm.
  66. Uncertainty
    Joseph Gordon-Levitt and Lynn Collins are so interesting that it's easy to put up with the decision-making dithering that goes along with the title.
  67. Jonas Brothers: The 3D Concert Experience
    To fully savor Jonas Brothers: The 3D Concert Experience, it's best to watch with an audience overwhelmingly populated by girls and young women.
  68. Chasing Mavericks
    In attempting to honor their subject, the filmmakers also sap the life out of a potentially thrilling story.
  69. Rules of Engagement
    The drama ultimately retreats to safer, duller, more illogical, and more reactionary impulses and stereotypes.
  70. The Scorpion King
    Isn't incompetent; it's just plodding and obvious. If anything holds it together, it's The Rock's ironic ability to tread lightly, which the movie is neither fast nor inventive enough to recognize as different from the spirit of Arnold.
  71. Legends of the Fall
    This puffed-up Western set in Big Sky country becomes a small-screen horse opera.
  72. The Incredible Burt Wonderstone
    The movie itself is too cautious and unimaginative to bring off what a great magic trick — or comedy — should do: make us laugh out loud with surprise.
  73. Cherry
    For all the frenzied action of the final scenes though, there's an airless, overwrought sense of diminishing returns — and that's a comedown we've seen too many times before.
  74. Rails & Ties
    Rails & Ties is like one bad TV movie that slammed into another.
  75. Salt and Fire
    In Salt and Fire, a bad movie but an intriguing vacation slideshow, Michael Shannon and Veronica Ferres play “characters” (unconvincing, undimensional) and speak “dialogue” (expository, flat).
  76. Brief Interviews with Hideous Men
    At times, the movie could have been called "Me and You and Every One of the Bastards We Know," but Krasinski preserves Wallace's whooshing roller coasters of words, powered by the fuel of confession.
    • 44 Metascore
    • 16 Critic Score
    Miracles from Heaven
    Miracles From Heaven stands firm atop a sloppily made case for faith over logic and spirituality over science, and for that, it’s challenging to view as a film instead of judgmental ideology in cinematic drag.
  78. School for Scoundrels
    Director Todd Phillips tries for the kind of frat slaphappiness he applied so successfully to "Old School," but these boys are less scoundrels than individual salesmen for the brands of Heder and Thornton.
    • 44 Metascore
    • 42 Critic Score
    More American Graffiti
    A coming-of-age picture that never arrives.
  80. Frankie and Johnny Are Married
    The only metatwist missing in the twittering self-regard of this indulgent home movie is the participation of a documentary video crew -- ideally helmed by some TV exec's USC-grad son -- shooting the filmmakers shooting the play within the play.
  81. Kate & Leopold
    It's no myth: All play and no work makes Jackman, as Leopold, a doll of a boyfriend.
  82. A Slipping-Down Life
    Taylor does that thing she does when she whispers as if she has just discovered speech; Pearce enjoys himself doing his own singing, and embracing grunge.
  83. Saban's Power Rangers
    Most movies like Power Rangers get the first-half Y.A. character stuff wrong and the second-half smashy-smashy action stuff right. This one does just the reverse.
  84. Oz the Great and Powerful
    The film is stuffed with three endings too many. You can't blame Raimi for wanting to give us our money's worth. But after a while, you just want him to get to the Happily Ever After already.
  85. Joyful Noise
    The movie's musical numbers are catchy and rollicking and, in their bright sunshiny way, rather soulful.
  86. Rush Hour 3
    It's a jerry-built kick-ass insult machine assembled entirely out of secondhand parts.
  87. A Million Ways to Die in the West
    I don't know if A Million Ways to Die in the West will turn any of the MacFarlane haters into fans. But for those of us who have remained on the fence until now, his raunchy, rat-a-tat parody is proof that beneath all of the bratty immaturity lays the head and heart of an outrageous quick-draw satirist.
  88. All the Boys Love Mandy Lane
    Mandy Lane does eventually build to a whiplash twist ending, but it's too little, too late — much like the film itself. Here's a case where the backstory is more interesting than the movie.
  89. Warlock
    Warlock is an occult schlock-o-rama, with special effects so low-budget they might have come out of a joke shop.
  90. The Love Punch
    There’s nothing remotely original about the premise, and jokes about prostates feel more pandering than funny, but the leads make this dumb romantic caper watchable.
  91. Last Man Standing
    Writer-director Walter Hill follows up last year’s nuanced, underrated Wild Bill with this numskull, overwrought shoot-’em-up.
  92. Unicorn Store
    The result is a candy-coated, willfully quirky wisp of a film; like a Michel Gondry fantasy dipped in glitter and rainbow sprinkles.
    • 44 Metascore
    • 50 Critic Score
    Chaos Theory
    Peddles the usual carpe diem movie bunk.
    • 44 Metascore
    • 75 Critic Score
    The Closer You Get
    Featherweight tale of Guinness-guzzling bachelors.
  95. The Code
    Doesn't have much time for refinement of image or elegance of plot. What it's got instead is an insider's feel for the local, excitable hoodlum life and speech.
  96. Committed
    An inert screwball cartoon, a celebration of monogamy as fashion statement.
    • 44 Metascore
    • 67 Critic Score
    Brokedown Palace
    It's strangely enjoyable to see her(Danes) and Beckinsale busted on a bogus heroin-smuggling rap and thrown in the slammer with bad 'dos and no makeup.
  98. The Ninth Gate
    A film not even a star as foxed and foxy as Johnny Depp himself could save.
  99. Love & Sex
    The Dutch born Janssen sparkles serenely.
  100. Pearl Harbor
    The picture is nearly painstaking in its traditionalism, a tale of love, war, and valor in which nostalgia for ''simpler times'' gets mashed together, almost fetishistically, with nostalgia for old movies and for the spirit of knightly self sacrifice during World War II.
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