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. The Jacket
    Director John Maybury has a feel for shock rhythms, and he's skillful at keeping you guessing, but after a while you want your questions to cohere into compelling answers, and in The Jacket they don't, quite.
  2. Kingsman: The Golden Circle
    If the first Kingsman, at its best, felt like a dry martini of a joke, then this one is more Jack and Mountain Dew — unsubtle, unrefreshing, and unnecessary.
  3. Drive Angry 3D
    Even the film's one "original" twist is just a desperate attempt to link it up to Ghost Rider, the only lousy Nicolas Cage action film that is actually spawning a sequel.
  4. In My Country
    In My Country doesn't so much explore as use the tragedy of black South Africa to give its heroine a righteous slap of nobility.
  5. The Union
    All of the action is shot cleanly, and I could always tell where everyone was in relation to one another during the setpieces — which may not sound like much of a win, but if you think that, you clearly haven't watched too many direct-to-streaming movies. If you want something done efficiently, hire a union man.
  6. The Twilight Saga: New Moon
    Fan-ready and saga-solid.
  7. The Legend of Tarzan
    You just wish — after two solid but oddly joyless hours — that Legend strained less to hit its marks, and swung a little more.
  8. Stomp the Yard
    The shallow frat-on-frat rivalry and the poor-boy-loves-rich-girl subplot don't mean a thing. But the stepping does got that swing.
    • 44 Metascore
    • 67 Critic Score
    Kidnap
    While a quick payday might be the case for Berry on Kidnap (she also serves as a producer), the Oscar winner earns her way to the bank in this mildly titillating (albeit unsophisticated) thriller, which bears a striking resemblance to her 2013 flick "The Call."
  10. Henry Poole Is Here
    It's less a tale of religious rebirth than a faith-based Hallmark card.
  11. Holidate
    As it is, though, the leaden dialogue and awkward pacing ensure that the shallow, unfunny Holidate never takes off.
  12. Pacific Rim: Uprising
    If you enjoyed 2013’s Pacific Rim but secretly wished it was more like a vapid Transformers sequel, then you’ll love Pacific Rim Uprising. Everyone else can give this heavy-metal howler a hard pass.
  13. The Brothers Grimsby
    Here’s what you didn’t expect: That The Brothers Grimsby, an upstairs-downstairs spy comedy, would be Cohen’s best work in a decade.
  14. Peter and Vandy
    More naturalistic -- and as a result, more believable.
  15. Nowhere
    A visual and aural overload that ultimately tires rather than conveys a feeling of f—-d up-ness.
  16. Hotel Transylvania 2
    Genndy Tartakovsky returns as director, and the creator of "Samurai Jack and Dexter’s Laboratory" has somehow managed to kick up the energy even more for the sequel.
  17. Brightburn
    The movie is more or less all premise. The rest is just an occasionally suspenseful, occasionally gory sci-fi riff on any number of earthbound creepy-kid thrillers.
  18. Innocent Blood
    Inocent Blood is an unbelievably lethargic horror comedy directed by John Landis (An American Werewolf in London). Anne Parillaud, the French star of La Femme Nikita, is less sexy than morose in the role of a modern-day vampire who preys on mafiosi. Why mafiosi? For no good reason other than that it allows Landis to stage a lot of scenes in which cut-rate Italian hoodlums stand around yelling at each other.
  19. Two Weeks
    The movie's warm advocacy of hospice, with all the dignity such end-of-life care provides, does real, influential good.
  20. A Good Old Fashioned Orgy
    In essence, this is an indie Adam Sandler comedy, and when its heroes are psyching themselves up for the big event, it's kind of funny. But the orgy doesn't make you laugh - it makes you cringe.
  21. The Belko Experiment
    Belko is an appropriately disreputable, gleefully disturbing movie.
  22. Pain Hustlers
    Solid performances are overshadowed by chaos. Yates brought magic to the Wizarding World, while here, he stuffs Pain Hustlers with voiceovers, freeze frames, and black-and-white mockumentary talking heads. These are gimmicks that have been done before — and better — in films like The Big Short and now just feel derivative.
  23. Hostage
    My new theory is that Willis' own aesthetic soul is more old-world than he knows, and that he works best with directors who either are (Luc Besson) or might as well be (M. Night Shyamalan) European.
  24. Second Best
    Second Best might have made a good stage monologue, but as a film it's overstated and barely baked.
  25. Walking Tall
    There's not a guy I know who hasn't been looking forward to seeing The Rock pick up the big wooden stick first swung by Joe Don Baker more than 30 years ago.
  26. Man of the Century
    A premise masquerading as a movie.
    • 44 Metascore
    • 58 Critic Score
    Angels in the Outfield
    At Angels‘ end, Al tells Roger, ”We’re always watching.” That’s more than audiences will say about this disappointing movie.
    • 44 Metascore
    • 33 Reviewed by
      Ty Burr
    Chasers
    Hopper peppers the cast with his usual assortment of fringe players (Dean Stockwell, Crispin Glover, Seymour Cassell), but his own cameo as a horny salesman is an embarrassment, and the dreadful script mistakes cuss words for wit every step of the way.
  29. The King's Man
    But for all its faults, The King's Man is at least hilariously bad in the way that emotionless, made-by-committee blockbusters like Star Wars: The Rise of Skywalker are not.
  30. Made in Italy
    It feels almost churlish to fault the film for its weightlessness, when light is exactly what movies like this are meant to provide: a fizzy, sun-drenched escape from the pale monotony of our own lives.
  31. The Inbetweeners Movie
    This feature-length dose of boyish sexual fumbling and fantastically dirty British slang is bound to expand an American viewer's vocabulary.
  32. Renaissance Man
    The big underachiever turns out to be DeVito, who is incapable of exhibiting believable warmth and complexity, or, indeed, of playing anyone who is not a cartoon.
  33. Delivery Man
    The only saving grace is Chris Pratt as Vaughn's deadpan best friend.
  34. Faster
    Faster grafts that genre's style onto a deadbeat script and leaves it to Johnson - as deadly focused as a gunsight - to make it all believable.
  35. Last Action Hero
    Last Action Hero makes such a strenuous show of winking at the audience (and itself) that it seems to be celebrating nothing so much as its own awfulness. In a sense, the movie's incipient commercial failure completes it aesthetically.
  36. Plunkett & Macleane
    Watchable in a facile, trashy way. Unfortunately, most of the movie is mired in sludge, slime, mud, blood, and studiously dank cinematography.
  37. It Runs in the Family
    A sodden drama of filial conflict that dares the audience to confuse the characters with the players. P.T. Barnum couldn't have come up with a better hook, but he would have rewarded his suckers with more ''On Golden Pond'' entertainment bang for their buck.
  38. The Center of the World
    Too arty by half.
  39. Kikujirô no natsu
    The film isn't just bad; it's a barely coherent, inert mess -- a heart-tugger for voidoids.
  40. Funny Games (2008)
    Can a movie be gripping and repellent at the same time? In Funny Games, a mockingly sadistic and terrifying watch-the-middle-class-writhe-like-stuck-pigs thriller, the director Michael Haneke puts his characters in a vise, and the audience too.
  41. The Ruins
    The Ruins is lumpish, static, and obvious. It's a gringos-go-home cautionary fright flick done in the spirit of a cheap '50s horror movie, except that it leaves you longing for the competence of grade-Z studio-system trash.
  42. Mortal Engines
    Despite all of the film’s retro-future eye candy, it never quite sweeps you out of your seat and transports you someplace new. It’s a squeaky salvage job that could have used a fresh dose of oil to make it hum.
  43. Underworld: Rise of the Lycans
    Sheen and Nighy do their best with the material, but this is easily the worst Underworld so far.
  44. Head of State
    Rock and Mac exult in the kind of highly charged verbal and physical antics that are star-turn rewards for performers currently at the tops of their games.
  45. Double Team
    Double Team becomes an enjoyably decadent spectacle of gymnastic preposterousness.
  46. The Raven
    The film, devising events that led up to his mysterious death in 1849, is also the most gruesomely literal-minded of period detective stories.
  47. Girl 6
    Lee, I'm afraid, hasn't a clue. He has made half a movie, a phone-sex comedy in which the heroine has no real existence apart from the phone.
  48. We're the Millers
    While Aniston shows that she's as deft on a stripper pole as she is with her sitcom-honed timing, Sudeikis wields his smart-ass sarcasm like a barbed weapon. And more often than not, it kills.
  49. Welcome Home, Roxy Carmichael
    An offbeat pic pointlessly oversaturated with grating characters who look like they got lost on their way to a John Waters fan club convention.
  50. The Hangover Part II
    Here, as in "The Hangover," the laughs aren't just staged, they're superlatively engineered.
  51. Hot Summer Nights
    Bynum shoots it all in high pop-pastiche style, with a near-constant barrage of neon freeze frames, slow-pan party shots, and romantic montages set to an eclectic, decade-spanning soundtrack (Tarzan Boy, David Bowie, Roxette, Suicide).
  52. The Game Plan
    Having tamed one muscled man-child (Vin Diesel in The Pacifier), Disney sets its sights on The Rock. He preens winningly in The Game Plan.
  53. Along Came Polly
    Along Came Polly is nothing if not a chick flick for guys.
  54. Mary Reilly
    The film's chief novelty turns out to be its drab ''literary'' approach to horror.
  55. 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.
  56. The Caveman's Valentine
    There is pleasure in giving oneself up to the gusty swirls of the film's imagery, and especially to the handsome grandeur of its star.
  57. Smiling Fish & Goat on Fire
    This sunny ode to brotherhood, made on a tiny budget, goes a fair distance on good vibes.
  58. What Dreams May Come
    So diaphanous it practically dissolves as you watch it.
  59. American Cannibal: The Road to Reality
    The writers act shocked at how low they are stooping, but given their desire to write sitcoms, you have to wonder.
    • 44 Metascore
    • 67 Reviewed by
      Ty Burr
    Barney's Great Adventure
    Barney’s Great Adventure is insipid, but it’s also harmless, and, besides, why shouldn’t toddlers enjoy the pleasures of their own kitsch?
  61. Batman v Superman: Dawn of Justice
    I get that this mano a supermano story line is a sacred text among comic-book aficionados, but Dawn of Justice doesn’t do the tale any favors. It’s overstuffed, confusing, and seriously crippled by Eisenberg’s over-the-top performance.
  62. This Is Where I Leave You
    All of which leaves you wondering: Why cast such talented, interesting, and edgy performers if you're only going to ask them play it safe?
  63. Chandni Chowk to China
    It all makes you want to see a Bollywood movie, all right -- a good one.
  64. The Answer Man
    Daniels plays Arlen with a kind of cuddly crankiness; he makes him a jerk who just needs a hug.
  65. Connie and Carla
    The surprise -- and intermittent delight -- of Connie and Carla is the way that it taps into the everybody-is-a-star passion of the new sing-along culture.
  66. The Village
    It gives nothing of the plot away to say that there's a fine line between an ''Aha!'' and an ''Oh, brother!'' Whether you feel The Village crosses that line may hinge on whether you think Shyamalan's screenwriting ability is beginning to lag behind his skill as a director.
  67. Bridget Jones: The Edge of Reason
    A triumph of performance, production, and adaptation over the empty-calorie dither of its source material.
  68. The Prophecy
    The Prophecy is an occult freakshow so inert it seems to have been pasted together out of stock footage.
  69. Mortal Kombat
    Fatalities are the closest we get to the fun of playing a Mortal Kombat game, but future adapters would be better off realizing that video games are art precisely because of their unique gameplay, and not because of the silly lore that stitches cutscenes together.
  70. The Bronze
    The Bronze has a loony Napoleon Dynamite–meets–Talladega Nights-on-the-balance-beam charm. Hope may be a giant jackass, but she’s America’s jackass.
    • 44 Metascore
    • 58 Critic Score
    Bloodshot
    It’s a lot of bog-standard action stuff glommed onto a deeper metaphysical muddle; Inception drawn in extra-thick Sharpie and testosterone. If the whole thing is ultimately a shell for Diesel to do what he does, the ending also takes care to sing in the key of sequel too: Come fast cars, Avatars, and farther galaxies, there will be blood, again.
  72. Jobs
    The ironic thrust of the movie is that Jobs' humanity is there in that perfectionistic insanity. He pushes and pushes to make home computers more and more appealing, accessible, and user-friendly, and that's his great gift to the world.
  73. The Libertine
    The Libertine is such a torturous mess that it winds up doing something I hadn't thought possible: It renders Johnny Depp charmless.
  74. The Losers
    Basically, it's "The A-Team" meets "Rambo" meets "Mission: Impossible," with a mission that's one part trickiness, four parts blowing stuff up.
  75. Southland Tales
    Southland Tales has a mood unlike anything I've seen: dread that morphs into kitsch and then back again. It's a film that tried my patience, and one I couldn't shake off.
  76. Devil
    A pocket-size supernatural thriller that plays a bit like Agatha Christie's "Ten Little Indians" retold by an unstable Sunday School teacher.
  77. Life Happens
    It's a trifle, but at least it doesn't star Katherine Heigl.
    • 44 Metascore
    • 50 Critic Score
    Schizopolis
    When it works, it's the best film of the year. When it doesn't, take cover.
  79. Snow Falling on Cedars
    Exceedingly blurred rendering of a simply told, artful novel.
  80. America's Sweethearts
    No excuse for the bitterness and crudity in America's Sweethearts -- a noxious combination that erodes the 1930s and '40s screwball-comedy armature on which this mirthless movie is based.
  81. Killer Elite
    Killing looks ridiculously easy in this dispensable exploitation picture, directed for maximum impact of head-cracking pain by ad-trained Irish director Gary McKendry in his first feature.
  82. Dudley Do-Right
    The balance of inspired idiocy to hackneyed buffoonery is out of whack.
  83. The Wendell Baker Story
    Feels like an attempt to rebottle the postmodern fizz of Wes Anderson's "Bottle Rocket." I wish instead they'd put a stopper in it.
    • 43 Metascore
    • 42 Critic Score
    Firehouse Dog
    The terrier Rexxx might be the least appealing mutt ever to slobber on screen.
  85. 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.
  86. Eagle Eye
    A brain-squandering thriller.
    • 43 Metascore
    • 58 Reviewed by
      Ty Burr
    Under Suspicion
    Pits the two actors against each other in a ''long night of the soul'' talkathon that director Stephen Hopkins' jerky editing techniques can't quite spark into sustained life.
  88. Palmetto
    Palmetto has a satisfyingly deceptive plot that ultimately takes one too many turns.
  89. Malibu's Most Wanted
    A send-up of rap personality in which no one actually has a personality. The joke, alas, is on the movie.
  90. Maze Runner: The Scorch Trials
    Left without a gimmick, The Scorch Trials wanders between YA cliches — there’s a Resistance, but it’s unclear what they’re resisting — and zombie movie tropes, with the obligatory a zombie bit our friend scene.
    • 43 Metascore
    • 25 Reviewed by
      Ty Burr
    City Slickers II: The Legend of Curly's Gold
    Everything about the movie feels secondhand, including the wheezy plot about a treasure map and buried gold. The real problem, though, is plain old sequel-itis: Because the first story completed the narrative of these characters, the only reason to make a second film is money.
  92. The Princess
    King is an engaging actress to watch, if she only had an actual backstory, but the movie is so relentlessly romp-y and blood-splattered it quickly becomes numbing.
  93. Survival of the Dead
    There are some memorable images, including the sight of a beautiful, horse-riding ''dead head.'' But for much of the movie, Van Sprang's zombie fatigue seems to be an echo of Romero's own.
  94. Larger Than Life
    The trek is long, the direction (by Murray’s Quick Change colleague Howard Franklin) is soft, the script (by Roy Blount Jr.) is windy, and the occasional laughs are as heavy-footed as the thunking lead pachyderm herself.
  95. Looking for Kitty
    Burns pads around Gotham, yammering yesterday's op-eds about Disneyfication and ''classic New York holdouts.'' He somehow manages to sound fogyish AND immature.
  96. San Andreas
    San Andreas shows that sometimes the fake stuff can get the job done beautifully. I don’t want to make any claims that San Andreas is a great film. It’s not. But as mindless sensory barrages go, its fakery taps into something real: It shows us just how impotent we all are to control our planet. Unless, of course, you happen to be The Rock.
  97. The Last American Virgin
    "Virgin" is also one of the few Reagan-era romps that could put a lump in your throat, as loser Gary (Lawrence Monoson) watches his skeevy best friend (Steve Antin) steal his dream girl. Thank-fully, the Cars keep things fizzy by shaking it up on the soundtrack.
  98. American Pastoral
    As hard as they work to add nuance, Connelly is trapped in mad-housewife hysteria, Fanning’s a brat, and McGregor never really rises above a strange, stunned blandness. It’s a noble effort, almost completely lost in translation; give it an American pass.
  99. Madison
    Director and co-writer William Bindley engages every move in the underdog playbook, including, but not limited to, the time the good citizens of Bedford Falls chipped in to make up George Bailey's shortfall in "It's a Wonderful Life."
  100. Catch and Release
    I just don't know any chick who will make sense of this flick -- it's that blitheringly out of touch with present psychosexual (never mind feminist) time and space.
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