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. Free Birds
    In the end, the jokes simply aren’t funny enough to lift these flight-challenged fowl off the ground.
  2. Glee: The 3D Concert Movie
    As for the concert itself, it's a generically big, loud, overchoreographed, over-mic'ed, post-Madonna production.
  3. Man of Steel
    The local multiplex is lousy with celluloid crime fighters. So what turf is left for good old Clark Kent? That's the nagging question that director Zack Snyder's Man of Steel tries — and ultimately fails — to answer.
  4. Despicable Me 2
    By the end, every child in the audience will want his or her own monster-minion toy. Adults will just regret the way that Despicable Me 2 betrays the original film’s devotion to bad-guy gaiety.
  5. Texas Chainsaw 3D
    A sign of how desperate the series' producers have become is that the big twist here is that Leatherface, the slobby butcher-boy demon in his mask of human skin, is now...the good guy. (That's a ''jump the chainsaw'' concept if ever there was one.)
  6. Another Happy Day
    As the groom's brassy-babe stepmother, Demi Moore does her own share of scenery chewing, but at least she looks like she's having fun.
  7. Trishna
    The shots of urban traffic jams have more spark than the story, which skips from a pregnancy to the filming of a musical to murder - without convincing us of any of it.
  8. The Lucky One
    The Lucky One doesn't have the schlock rapture of "The Notebook" (the one Sparks adaptation that has really worked). The trouble with the movie isn't that it's too girly-swoony; it's that it tries to achieve emotion through glowy sunsets and a paint-by-numbers script.
  9. Fireflies in the Garden
    The resentments acted out at the dining table by the rest of this miserable family - gathered for a graduation celebration that turns into a wake - are so oppressive that Eugene O'Neill might ask, ''Too much?''
  10. Shame
    The biggest surprise in Shame is how distanced, passionless, and merely skin-deep the director's attention is - how little he cares about the subject of his own movie.
  11. Les Miserables
    This steam-driven military weapon of an enterprise is a sobering reminder of just how tinny a musical Les Misérables was in the first place.
  12. Gangster Squad
    Brolin and Gosling are both supposed to be playing World War II veterans who bring their knowledge of battle into the tough turf of the streets, but that's just a concept that the sketchy, half-baked script tosses out there.
  13. I, Frankenstein
    To be fair, Eckhart is physically impressive and Bill Nighy and his raised eyebrow do their best in the role of demon leader Naberius. But I, Frankenstein shares something else with it's monster-hero, something much worse than its patchwork nature: The film is distinctly lacking in the soul department.
  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. Chasing Mavericks
    In attempting to honor their subject, the filmmakers also sap the life out of a potentially thrilling story.
  16. Parental Guidance
    In the occasionally funny but mostly facile '80s-style culture-clash comedy Parental Guidance, Billy Crystal, who now resembles a very cute puffer fish, plays Artie Decker.
  17. Into the Abyss
    The film has the same moral design as "Dead Man Walking," but since it never gets inside the darkness of the killers' minds, it's really just a rambling episode of "A Current Affair."
  18. Being Flynn
    Is it possible for an actor to go through the motions even as he's going over the top? In Being Flynn, Robert De Niro does phoned-in scenery chewing.
  19. 4:44 Last Day on Earth
    One of Dafoe's deadbeat friends observes, ''The world's been ending ever since it started, man,'' and you may think the same thing about this movie.
  20. Kill List
    It's all very sub-Tarantino showy and empty - at least, until the head-scratching climax, which tries to be "Eyes Wide Shut," "The Wicker Man," and "The Twilight Zone" all at once, but only makes you wish that you were watching one of them instead.
  21. The Moth Diaries
    Her (Harron) torpid adaptation of Rachel Klein's novel about female sexual desire, jealousy, death wishes, and vampires at a girls' boarding school defeats Harron's talent for exploring darkness on the edge of kinkiness.
  22. A Good Day to Die Hard
    In the way of workaday flicks built around long-in-the-tooth badasses, Die Hard 5 leaves room for McClane to make a few jokes about his thinning hair and to rue that he wasn't a better father when his kids were growing up. Oh, boo-hoo.
  23. The Magic of Belle Isle
    A crotchety, alcoholic, wheelchair-bound coot played on cruise control by Morgan Freeman learns these recycled lessons in a pastel-colored, embroidered wall-hanging of a drama directed by Rob Reiner.
  24. Escape Plan
    Schwarzenegger, for one, seems to be having a hoot.
  25. Darling Companion
    Lawrence Kasdan's comedy strikes a note of rib-nudging blah coyness that feels very 1987.
  26. God Bless America
    Bobcat Goldthwait's new movie is a burlesque that turns into a harangue that turns into a rampage.
  27. The Smurfs 2
    The trouble with this stunted sequel is that the doughy, blobby-hatted Smurfs are mostly window dressing for an abrasive slapstick bash built around a tiresome kidnap plot, pancake-flat gags about Facebook and ''Smurf-holm Syndrome,'' and Neil Patrick Harris mugging his way through the role of a daddy with daddy issues who once again helps out our heroes.
  28. Delicacy
    The two stars appear to be as bewildered by the turn of events as we are.
  29. Battlefield America
    The editing in Battlefield America is super-speedy: Each shot lasts about three seconds, and then it's off.
  30. Paranoia
    The only real reason Paranoia is even remotely worth watching is the chance to see Oldman and Ford go head-to-head like two vipers thrown into a potato sack.
  31. Dark Horse
    Fourteen years after "Happiness," why is director Todd Solondz still mucking around with the sort of idiot neurotic dweeb who makes George Costanza look like George Clooney?
  32. Cosmopolis
    The film comes off as an elaborately didactic and overheated lecture.
  33. Deadfall
    There isn't much to the characters in this morose thriller.
  34. Kumaré
    Gandhi tries to dodge criticism of his mocking scam by rationalizing that even a phony wise man can offer real solace.
  35. Farewell, My Queen
    Benoît Jacquot's film is shackled to a blah bourgeois leftism.
  36. Need For Speed
    A moderately popular racing series that the powers that be have tried to turn into a turbo-boosted stunt-car extravaganza of the same make and model as the "Fast & Furious" franchise.
  37. Killer Joe
    Killer Joe throws down a dare by expecting its audience to be the cool connoisseurs of the story's "comic" outrageousness, then rubbing viewers' faces in close-up scenes of brutality that reasonable people ought not to be able to watch. That up-close experience, however effectively done, is a movie specialty that's its own kind of mean.
  38. Runner Runner
    Even the best player can only go so far with a bum hand.
  39. Assassin's Bullet
    The cockeyed C-quality B movie, shot on location with a Balkan supporting cast and crew, mixes a precarious pileup of visual clichés with over-staged action sequences.
  40. Kick-Ass 2
    Moretz, who is 16 now, can't manufacture the same that's-so-wrong jolt she managed the first time around. Back then, it was hilariously taboo to see a little girl spout arias of profanity. Now, she's just another teenager swearing. Like the rest of the film, what was once shocking now just elicits a shrug.
  41. Little White Lies
    The trouble with Guillaume Canet's French gloss on "The Big Chill" is that it has no underlying chill.
  42. Rust and Bone
    Cotillard, with stringy long hair and a coal fire of severity in her eyes, has what it takes to play a woman who feels that she's lost everything. But she's forced to flail and mood-swing from scene to scene. In an insult to the disabled, there is never much to her but her hellacious injury.
  43. No Good Deed
    There's an intriguing premise buried in there that could have resulted in a smart look inside the mind of a malignant narcissist (which, the movie reminds us over and over again, was Jeffrey Dahmer's diagnosis too).
  44. The Place Beyond the Pines
    It's a slow-burner that burns so slowly its wick completely fizzles out.
  45. 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.
  46. Olympus Has Fallen
    The countdown-to-Armageddon structure generates almost no tension, but Olympus Has Fallen does have lots of squalidly bloody hand-to-hand action, all of which is so pulpy and standardthat the film actually makes you grateful for the presence of Gerard Butler, gnashing his teeth in the Bruce Willis role.
  47. Delivery Man
    The only saving grace is Chris Pratt as Vaughn's deadpan best friend.
  48. Save the Date
    Everyone in the cast (including Geoffrey Arend, Mark Webber, and Caplan's Party Down colleague Martin Starr) is talented enough to deserve a stronger story line than this.
  49. A Glimpse Inside the Mind of Charles Swan III
    No less sweet for being unoriginal: A guy (Charlie Sheen) mourns a bad breakup with the woman he loves (Katheryn Winnick). The execution, on the other hand, is perilously self-absorbed.
  50. Transcendence
    Watching it all unfold and slowly go off the rails, you can't help but wonder what Pfister's mentor, Nolan, might have done with the same material. My guess is he would have sent the script back for a Page One rewrite for starters.
  51. What Maisie Knew
    In this bleak indie bummer that confuses hopelessness with depth, they're really nothing more than selfish, one-dimensional monsters. Maisie's better off without them.
  52. Black Nativity
    While Hudson's and costar Mary J. Blige's soulful, stirring musical numbers are absolute dynamite, the rest of the film's story is larded with enough soap opera twists and heavy-handed schmaltz that you'll feel like you're being bludgeoned with a hymnal.
    • 40 Metascore
    • 50 Critic Score
    Salinger
    At two hours and nine minutes, Salinger is at least 40 minutes too long, suffering, just like the book, from its creators' obsessive zeal. Only here, you can't page ahead to the next chapter.
  54. Passion
    Passion turns into vintage De Palma — which is to say, the film seems almost engineered to get you giggling at the extravagance of its absurdity. Any enthusiasm in the viewer is bound to be a shadow of the film's passion for itself.
  55. Lovelace
    Seyfried works hard for your empathy, with the same naïveté that helped secure Boreman's rep as the ''sexy Raggedy Ann.'' And Sarsgaard is perfect for this role, oozing '70s sleaze in all its mustache-smoothing glory. But even they can't add depth to this sad story.
  56. Dracula Untold
    It works neither as a sweeping historical epic nor as an action-horror hybrid.
  57. 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.
  58. Labor Day
    With his latest film, the mawkish and melodramatic Labor Day, Reitman has done an unexpected about-face: He's ditched Wilder for Douglas Sirk. And the swap doesn't do him — or his fans — any favors.
  59. The Congress
    Ari Folman's meta-commentary on Hollywood in the soulless digital age starts off promisingly, like a Charlie Kaufman mind scrambler. But then it spirals into logy animated nonsense.
  60. The Theory of Flight
    [A] gimmicky actors' holiday.
  61. Stargate
    The film has flashes of psychedelic visual energy, but its story is limp.
  62. Thanks for Sharing
    This tone-deaf misfire can't decide whether it wants to be a broad comedy doling out raunchy slapstick laughs or a serious drama about our porn-saturated age of sensory overload.
    • 71 Metascore
    • 50 Critic Score
    Seconds
    The technical dazzle can’t make up for the boring, unsympathetic characters. With no one to root for, this arty, humorless film ends up pretentiously empty.
  64. Vampire Academy
    If you're not at the bull's-eye center of the target audience, a movie like this one can suck the life out of you.
  65. Winter's Tale
    It's no coincidence that Winter's Tale is being released on Valentine's Day, when our resistance to schmaltz is at its weakest. But do that special someone in your life a favor and splurge on some flowers and a nice heart-shaped Russell Stover box instead.
  66. Chappie
    When we’re first introduced, he’s an overwhelmed infant, and by the time the credits roll, he’s John McClane. Is that an accurate representation of how artificial intelligence can evolve? Absolutely. Does it make for compelling drama? Not particularly.
  67. The Green Inferno
    The Green Inferno is less a riff on spaghetti splatter flicks like Cannibal Holocaust than a desperate-to-shock pastiche of guts and gore served with a wink to audiences with strong stomachs. You know who you are.
  68. Fantastic Four
    In short, this Josh Trank-directed reboot had a very low hurdle to overcome to become the best FF movie so far. The most fantastical aspect of the movie is that it may not achieve that goal.
  69. Jane Got a Gun
    Since the film’s last-minute rewrites, casting switcheroos, and musical chairs behind the camera are irrelevant to the actual quality of the movie, I’ll avoid rehashing them here, save to say that the disarray shows on screen.
  70. 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?
  71. Inherent Vice
    Anderson's film is something to be experienced, like a psychedelic drug trip where the journey trumps the destination. Unfortunately, his journey just didn't do it for me.
    • 23 Metascore
    • 50 Critic Score
    The Cobbler
    What starts off as a potentially charming fantasy never finds its footing.
  73. The Interview
    It's a pity that the film is bereft of satiric zing, bludgeoning the laughs with a nonstop sledgehammer of bro humor.
  74. God's Pocket
    In one of his final roles, Philip Seymour Hoffman stars as a man whose no-good stepson is killed on a construction job, while John Turturro, Richard Jenkins, and Christina Hendricks round out a formidable cast that isn’t given much to work with.
  75. Wish I Was Here
    Braff, who co-wrote the film with his own brother, is clearly attached to the semiautobiographical material here and still has a knack for sweet two-person scenes.
  76. The Bag Man
    The only one having any fun in this dead-on-arrival noir is Robert De Niro.
  77. Oculus
    Unless you’re Billy Bob Thornton, old furniture just isn’t all that scary.
  78. As Above, So Below
    Like other movies of its ilk, it's missing a very simple bit of next-level Hollywood technology: a tripod.
  79. A Long Way Down
    With an ace troupe like that, there are affecting moments, to be sure. But the movie criminally wastes Sam Neill and Rosamund Pike in barely there supporting roles, and the picture has exactly two tones: grim and gooey. They do not coexist harmoniously.
    • 50 Metascore
    • 50 Critic Score
    The Shadow
    While the movie’s re-creations of New Deal-era Times Square and other period New York locations are impressive indeed, screenwriter David Koepp (who scripted Jurassic Park, which shares The Shadow‘s craven refusal to take its genre seriously) and director Russell Mulcahy sink the movie through their lack of conviction.
  81. Legends of Oz: Dorothy's Return
    There's barely a trace of the magic of 1939's "The Wizard of Oz"; the bricks are still yellow, but the road doesn't lead anywhere special.
  82. Ride Along 2
    Ride Along 2, which moves the action from Atlanta to Miami, plays more like a remake than a sequel.
  83. Hateship Loveship
    The supporting cast includes Nick Nolte, Christine Lahti, Jennifer Jason Leigh, and Hailee Steinfeld, making the movie’s greatest accomplishment the fact that it was able to squander so many interesting actors.
  84. The November Man
    The utter lack of originality eventually sinks the movie.
  85. X-Men: Apocalypse
    Apocalypse feels like a confused, kitchen-sink mess with a half dozen too many characters, a villain who amounts to a big blue nothing, and a narrative that’s so choppy and poorly cut together that it feels like you’re watching a flipbook instead of a movie.
  86. Beverly Hills Cop: Axel F
    While Beverly Hills Cop: Axel F isn’t terrible, and it does have a few funny zings plus one decent chase scene, there’s not a molecule of originality on display. One can’t help but call it a missed opportunity.
  87. The Salvation
    Green is officially the world’s best actress in bad movies.
  88. The Fluffy Movie
    Fluffy isn't awful, just disappointingly lightweight.
  89. Timecop
    The plot is more confusing than clever, and the only actor who seems to be having any fun is Silver, who's at his best throwing masochistic hissy fits at his younger, not-quite-so-evil self.
  90. 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.
  91. Ben-Hur
    This arena, unfortunately, is no Thunderdome. The chariot race is sloppily framed, choppily edited, and droopily choreographed, with special effects that look like they needed another few passes through the CGI machine.
  92. Men, Women & Children
    The problem isn't so much what the film is saying but its shrill, alarmist tone. You don't have to be a sociological genius to look at all of us walking down the street like zombies, obliviously staring at our smartphones, and know that something's wrong.
  93. 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.
  94. Bad Turn Worse
    Directors Zeke and Simon Hawkins add air-quote references to Jim Thompson, Steven Soderbergh, and the Coen brothers but are too proud of the movie's twists to make them truly snap. Call it "Blood Simple-ton."
  95. Revenge of the Mekons
    Director Joe Angio presents the group's music with the contagious enthusiasm of a diehard, but exuberance is no substitute for storytelling, and Revenge of the Mekons is in desperate need of a narrative path.
    • 32 Metascore
    • 50 Critic Score
    Unfinished Business
    The movie struggles to find its comedic footing by trying to bring out the family man in Dan Trunkman and underutilizing Franco, whose character clearly has much more to his disadvantage than a lack of prior business experience. Bottom line: Unfinished Business doesn’t deserve that handshake after all.
  97. Wild Card
    Stanley Tucci, Hope Davis, Anne Heche, and Sofia Vergara all pop up in glorified cameos and give the movie more fizz than their roles require. Which begs the question: Why would they sign on for such thankless, bite-size roles?
  98. Everly
    With so little backstory and character depth, it’s nothing more than a pointless exercise in brutal, nasty style.
  99. The Divergent Series: Allegiant
    Allegiant aches to be a thought-provoking, moving allegory of the current world. Instead, it’s an unwieldy two hours too unintentionally silly to validate how seriously it takes itself.
  100. The Mountain Between Us
    Can’t decide whether it wants to be a chilling survival movie or a sweeping romance. It never fully commits to either genre, and the result is a forgettable adventure that leaves you feeling cold.
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