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 Tempest
    Theatrically ambitious, musically busy, and in the end cinematically inert - clearly reflects the authorship of myth-loving director Julie Taymor.
  2. The Omen
    There's one moment that achieves the camp shiver of the original, when Damien's nanny hangs herself at his birthday party (''Damien, it's all for you!'').
  3. Suicide Kings
    Just when you thought it was safe to go to the movies without sitting through another imitation of early Quentin Tarantino, along comes Suicide Kings.
  4. The Mexican
    It's not the fault of "The Sopranos" charismatic, beefy star (Gandolfini) that he's an actor of such substance and quiet ardor as to make idle movie star ribbitting look frivolous.
  5. The Animal
    While a good deal funnier than ''Deuce Bigelow,'' is still destined to get branded, if not condemned, as ''dumb.''
  6. Jersey Girl
    For some four fifths of its length, Jersey Girl is as square as a turnpike-diner place mat.
  7. Fathers' Day
    If Fathers’ Day really had been released in the mid-’80s, I’d have said it was so funny I forgot to laugh.
  8. 9 Songs
    Nobody will go to see Michael Winterbottom's sexually explicit, novelty-act drama - a naughty peep show for sobersides, disguised as a nature documentary - to hear the songs; everyone will go to see the shagging, which occupies the majority of the screen time.
  9. The Vow
    It's a tragedy, really: According to the hapless team who made the movie, Our Paige is a relatively interesting young liberal who knows her own mind before the accident and a rather tedious, girlish conservative who fusses about keeping her hair smooth afterwards.
    • 43 Metascore
    • 58 Critic Score
    Hot Rod
    Wait until the best parts pop up on YouTube.
  11. Antebellum
    The star works valiantly to channel Eden/Veronica's pain and confusion, and the whole humanity of a life her captors so casually dismiss. As a performer, she commits utterly; if only the story could do the same.
  12. The Angry Birds Movie
    The 3-D animated film delivers a mildly diverting mix of winky meta-jokes and moral lessons, cannily aimed at both the next generation of tiny consumers and their more sophisticated parents.
  13. Equals
    Director Drake Doremus carefully constructs an us-against-the-world romance for Silas and Nia (an idea he pulled off beautifully in the underrated 2011 drama "Like Crazy," starring Felicity Jones and the late Anton Yelchin) and provides them with a rogue band of fellow thought rebels, including Guy Pearce and Jacki Weaver.
  14. Chain Reaction
    Chain Reaction, while crisply shot, unfolds in an action-suspense-thriller void. The movie’s emblem might be the terse, bureaucratically impersonal performance of Morgan Freeman, who, as the energy project’s chief government liaison, manages to play the film’s most ambiguous character without raising its dramatic temperature one degree.
  15. The Girl in the Spider's Web
    Now a miscast Claire Foy adopts the hacker vigilante’s black leather and badass avenging-angel attitude for The Girl in the Spider’s Web — a disappointingly safe, by-the-numbers action-thriller.
  16. Sorry, Haters
    The movie is cross-eyed with fuzzy thinking; it's also an interesting, if wacko, artistic response to world events.
  17. MacGruber
    The result is a naughty throwaway in all senses of the word.
  18. The Shaggy Dog
    The star (Allen), unleashed, is so energetic in his approximation of a bearded collie -- his nose sniffing the air, his whole being (which toggles between human and canine form) overcome by the need to fetch any stick thrown -- that his slobbery charm carries the picture.
  19. Maleficent: Mistress of Evil
    For kids maybe this is still magical; grownups, though, will waste many long, busily bedazzled minutes wondering why the powers that were able to bring Pfeiffer and Jolie together on screen couldn’t do at least marginally better by them both, and give them parts to truly sink their movie-star teeth into.
  20. X Games 3D: The Movie
    Mostly an overlong demo reel of increasingly gutsy tricks.
  21. Light It Up
    As an actor, Raymond is whiny and annoying, but not nearly so much as the film.
  22. American Pie 2
    Even though they're now college dudes, fulfillment for fellas is still predicated on copping a feel and downing a brewski.
  23. Anything Else
    With every recycled piece of business -- which is to say, every scene in Anything Else -- the distance widens between Allen and the elusive audience he pessimistically chases. He has never seemed less in touch with his own real, pulsing, 21st-century city.
  24. The Beach
    As a book, The Beach offers the option of diving deep. As a movie, it sticks too close to the shoreline.
  25. Shelter
    Its intentions are noble. Its gaze is harshly realistic. But it’s also overly melodramatic. Bettany has the makings of better director than screenwriter.
  26. Why Did I Get Married Too?
    WDIGMT? serves up speeches about trust and fidelity and rolling with the punches and blah blah blah. But it does so with so little energy that the actors might as well be saying the words blah blah blah.
  27. The Long Kiss Goodnight
    Ultimately, however, Kiss is too ridiculous to engage us as a thriller yet too cringingly self-conscious to amuse us as camp.
  28. Medicine Man
    In the end, there’s something opportunistic and glib about the way that Medicine Man yokes together medical wish fulfillment and save-the-rain-forest agitprop into a neat, messagey package. Nothing takes the fun out of romance quite like liberal earnestness.
  29. 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.
  30. Total Recall (2012)
    This one is somberly kinetic and joyless.
  31. Suspended Animation
    Describing what's bad about this movie is like describing what's orange about an orange, but suffice it to say that the best performance is given by a crucified raccoon.
  32. Riding in Cars with Boys
    When Barrymore finally gets mean, the movie finally gets good. Then comes another sing-along, dammit.
  33. The Last Castle
    This is, after all, not just Robert Redford. It's Redford in the nobly burnished self-mythologic perfection of his late-middle-aged golden god-ness.
  34. Hope Floats
    The pond is so shallow in this wan romance that there's no room for anything to float.
  35. Paycheck
    The amazing thing about John Woo's steely, impersonal adaptation of Philip K. Dick sci-fi story about a tech genius whose memory is erased...is how it vanishes in front of our eyes even as we watch it.
  36. Kingpin
    Lowest-common-denominator humor.
    • 43 Metascore
    • 42 Reviewed by
      Ty Burr
    Hocus Pocus
    It’s acceptable scary-silly kid fodder that adults will find only mildly insulting. Unless they’re Bette Midler fans. In which case it’s depressing as hell.
  38. The Wolfman
    Del Toro, with his melancholy-brute features, endows this raging beast with some of the ''Why me?'' poignance you may remember from Lon Chaney Jr.'s performance in the original.
  39. Dear John
    Ironically, they make the bond between John and Savannah look so natural that the ''dear John'' turn in their relationship makes even less sense than it does in the book.
  40. Youth Without Youth
    The movie is one soporific, depressed, deadeningly vague scene after another.
  41. Lost in Space
    Is any of this, you know, fun? Just barely. But I'm sure I would have loved it at 6.
  42. 360
    360 has a circular structure that's deftly pleasing, though the human drama is just facile enough to make it seem, in the end, a little too much like connect the dots played with people.
    • 43 Metascore
    • 50 Critic Score
    The Three Musketeers
    It’s packed with swordplay, fast getaways, and heaving bosoms.
  44. Freedomland
    Moore doesn't just act. She goes on the attack, embracing the kind of lower-rung-of-the-middle-class role that actresses from Jodie Foster to Meryl Streep have long savored. Her performance is an achievement of sorts, yet, like the movie itself, it's also strenuous and joyless.
  45. Final Destination 3
    What makes all of this ''fun,'' instead of dark or threatening, is that the victim was an idiot who leered at the class teases with horny glee.
  46. Where the Crawdads Sing
    Director Olivia Newman (First Match) bathes the story in so many broad, creaky tropes and odd tonal shifts that nothing ever feels real for a moment.
  47. Dante's Peak
    It hardly helps, of course, to have no characters to root for. What is it about Pierce Brosnan? He's got dimples, grace, charm; he's not a movie star, exactly -- he looks as if he should be hosting something.
  48. Meet Dave
    this unfairly maligned sci-fi comedy testifies that Eddie Murphy still has the gift of surprise.
  49. Stolen
    The longest stretch of logical plotting lasts about forty seconds, and the deep-rooted silliness makes it hard to take anything in the film seriously. But at least it has the decency never to ask us to.
    • 43 Metascore
    • 42 Reviewed by
      Ty Burr
    Needful Things
    By now, we’ve come to expect certain things in movies adapted from Stephen King novels: brooding misanthropy, a pound or two of viscera, and — perhaps most horrifying of all — Hollywood actors delivering their lines with bad Maine accents. Needful Things delivers on said expectations, no more, no less.
  51. Love in the Time of Cholera
    As for the splendid Spaniard Javier Bardem, now knocking socks off in "No Country for Old Men," his lot is worst of all. He's miscast as the romantic Florentino.
  52. Meet Joe Black
    Sometimes clever and enjoyable, even touching, yet too often the film makes you feel as if you're in Sunday school.
  53. The Young Unknowns
    There's a shocking, casual quality to the self-destructive narcissism of the pretty, petty kids squandering their lives in the L.A. sunshine of The Young Unknowns.
  54. The Very Thought of You
    Features the dullest, least lifelike collection of pals this side of "Eyes Wide Shut."
    • Entertainment Weekly
  55. For Love of the Game
    Costner's determination to avoid change keeps this baseball movie at a low line drive when it might have knocked one into the bleachers.
  56. Twentynine Palms
    This is one of those films in which the Act of Driving becomes a 10-minute statement of high emptiness; Dumont even manages to make sex in the desert boring.
  57. American Wedding
    The third helping of ''American Pie'' offers little more than crumbs. Half the franchise's core cast (including Mena Suvari, Chris Klein, and Tara Reid) chose to skip the big fat geek wedding.
  58. Cirque du Freak: The Vampire's Assistant
    Subplots go nowhere, and characters -- many played by well-known actors -- barely get screen time. Willem Dafoe, Salma Hayek, and Jane Krakowski are among those who are there and gone.
  59. The Uninvited
    Horror standbys like mangled corpses and stone-faced children pop up regularly, but sibling directors Charles and Thomas Guard haven't quite nailed the genre's rhythms.
  60. Basic Instinct
    Beneath its heavy-breathing fripperies, though, Basic Instinct is mechanical and routine, a muddle of Hitchcockian red herrings and standard cop-thriller ballistics.
  61. The Aftermath
    Sadly, director James Kent’s sappy and utterly unconvincing new film The Aftermath shows that even the most foolproof ideas wither in the face of turgid, overripe melodrama.
    • 43 Metascore
    • 58 Critic Score
    Unaccompanied Minors
    Feig does wring out a few fleeting fun/heartfelt moments from the minors, and the movie's Christmas treacle is smoother than "Santa Clause 3's." But anyone old enough to go see this without a parent or guardian will have seen it all before.
  63. True Colors
    The film, which has an overly complicated script (by Kevin Wade), is like Wall Street minus Gordon Gekko. It takes the fun out of back-room political sleaziness — and out of political integrity, too.
  64. Wonderland
    When we finally do see what happened, it's a genuine shock, a nightmare vision of a hedonist who forged his own hell.
  65. Good Deeds
    Perry holds back on the finger-wagging, eye-bulging tantrums. There were moments when I was grateful for that. There were others, like the kissy scenes between Perry and Newton, when I began to miss them.
  66. In Dubious Battle
    For all its noble intentions, though, the movie struggles to transcend broad outlines: Its characters are strictly symbols, timeworn archetypes of good and evil as threadbare and familiar as the artfully faded calicos and denim on their backs.
  67. Death Race
    Soft sexual and racial jabs replace the more daring political commentary of the original, a crude classic from the Roger Corman factory.
  68. Not Easily Broken
    Laughter through tears is director Bill Duke's M.O., and he hits the bull's-eye of that modest target.
  69. Machine Gun Preacher
    The title, Machine Gun Preacher, makes it sound like a piece of grindhouse kitsch - and by the time it's over, you'll be thinking, ''If only!''
    • 43 Metascore
    • 25 Critic Score
    Instinct
    Never mind that the film's portrayal of the mentally ill is on a par with "There's Something About Mary" -- the clumsy moral that we were all better off as hunters and gatherers couldn't be sillier.
  71. The Forgotten
    A thriller of carefully cultivated murk. It's enigmatic in the worst sense, in that every explanation for what's going on holds less water than the last.
  72. Back to Black
    There’s no desire to interrogate her artistry or to grant a portrait of what made her tick. In this rendering, Winehouse is made up purely of audacity, vocal theatrics, and addiction-fueled behavior. When it comes to this surface-level exploitation of Amy Winehouse’s life, just say no, no, no.
  73. The Romantics
    Clumsy camera work adds to the pre-wedding jitters in writer-director Galt Niederhoffer's pashmina-thin drama about attractive self-congratulatory Yale alumni gathering for the nuptials of two of their own.
  74. Trust the Man
    Can these banal relationships between undifferentiated lovelies be saved?
  75. Monte Carlo
    Undoubtedly a trifle, but it's still kind of nice for a summer movie to try charming us instead of just bludgeoning us into submission.
  76. Dark Phoenix
    For what is being called a final installment, it all tends to feel both anticlimactic and a little grim in the end.
  77. Spread
    The whole movie is pat -- very pleased with itself for being so up front about the ways of a 21st-century man-whore.
  78. A Dog's Purpose
    Purpose itself plays like a family film from another era, its gentle sensibilities a million miles removed from the winky pop culture references and meta layers of most modern all-ages entertainment. The effect is sweet, benignly retro, and just a little bit boring; a comforting Milk Bone for the soul.
  79. Brooklyn's Finest
    Ellen Barkin provides unexpected diversion in a madwoman cameo as the PD's brassiest brass. But otherwise the clichés keep coming.
  80. M. Butterfly
    Cronenberg directs this doomed romance in the same flat, claustrophobic, night-of-the-zombies style he employed in ''Naked Lunch''; as a dramatist, he's still stuck in Interzone.
  81. Snake Eyes: G.I. Joe Origins
    Unfortunately, director Robert Schwentke (RED, R.I.P.D.) uses a lot of razzle-dazzle, and too often the quick cuts and close-ups obscure the action rather than highlight it.
  82. The Circle
    It’s a movie that desperately wants to be timely and relevant, warning us about the Brave New World threats we all face when it comes to privacy, surveillance, and freedom. But it’s so cartoony and ham-fisted it sabotages its own argument.
  83. Death Note
    The whole thing feels like the pilot episode of a third-rate comic-book vigilante TV show.
  84. Glass
    Yes, it’s easy to be impressed by the world that Shyamalan has created and now fleshed out, but it would be nice if we were also moved to feel something too. In the end, Glass is more half empty than half full.
  85. The Peacemaker
    The essential spark of surprise is missing. The mechanics of ''breathless'' suspense are blanketed by an atmosphere of creeping caution.
  86. Feast
    Feast isn't quite demented enough to reach Raimi-an heights, but Gulager uses parts of the monster-movie buffalo even the buffalo didn't know existed.
  87. Lara Croft Tomb Raider: The Cradle of Life
    Croft is one humorless butt-kicker. Excavations in exotic lands have rarely looked so much like items on a to-do list.
    • 43 Metascore
    • 50 Critic Score
    The Final Cut
    Quiet and sleepy.
  89. Recess: School's Out
    Creator producers Paul Germain and Joe Ansolabehere have come up with some unexceptional children and underdeveloped adults.
  90. The Princess Diaries 2: Royal Engagement
    The film's generic feminism pales beside its bloated sense of privilege, only underlined by a nonstop cabaret of sideshow acts.
  91. Ace Ventura: When Nature Calls
    As always, the verbal comedy is nonsensical and vulgar, and the physical humor is rigorously thought out and really vulgar.
  92. The Art of Racing in the Rain
    Rain is not a bad movie, really, and it doesn’t sell itself as anything other than earnest, floppy-eared family entertainment. But there’s a gooey out-of-time feeling to the whole thing that a lot of films like these seem to have — a sentimental IV drip that steadily manipulates heartstrings without ever quite touching anything like true life.
    • 43 Metascore
    • 16 Critic Score
    Ticks
    Icky doesn’t begin to describe it.
  94. Flipper
    One reason the Flipper flick is worse than the TV show: Bland, mannered Paul Crocodile Dundee Hogan plays Sandy’s uncle, Porter Ricks, instead of television’s wonderfully grumpy Brian Keith.
    • 43 Metascore
    • 25 Critic Score
    Donkey Punch
    This predictable film wouldn't be effective anywhere outside a DARE program.
  96. D.E.B.S.
    The movie has no wit, no charm, no cleverness, no traction. Simply put, it is no fun.
  97. Office Christmas Party
    Aniston has a great time as the vampy, Krav Maga-ing Bitch Who Stole Christmas, and Miller’s willful idiocy is weirdly endearing.
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