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. Snow Flower and the Secret Fan
    Sadly, rather than melding the best of two worlds, the film only takes the worst of their soap operas.
  2. The Lovely Bones
    A sad-but-hopeful, dramatic-but-gentle fairy tale intentionally made less upsetting for teens.
    • 42 Metascore
    • 50 Critic Score
    G
    "The Great Gatsby" was famously bungled in the pulseless 1974 movie with Robert Redford. G, which updates the story with an African-American cast, is another strikeout, further destroying F. Scott Fitzgerald's film batting average.
  4. My Father the Hero
    A hateful ”family” comedy based on jokey insinuations of incest.
  5. Bones
    Snoop invests snarling meanness with as much authority as Clint Eastwood used to. As an actor, does this Dogg know any more tricks? At this point, he may not have to.
  6. The Big Bounce
    By not trying too hard, this remake of a dumb movie has got spring in its step. The bounce is on us.
  7. The Time Machine
    Deliberately quaint and old-fashioned, a once-over-slightly exercise in nostalgic wonder directed by the British-born great-grandson of H.G. Wells, who treats the spirit of his ancestor's novel with literal-minded fealty.
  8. The Family Man
    Schlock weeper.
  9. Drive Me Crazy
    Amusing in its very shallowness.
  10. Wet Hot American Summer
    The movie is so hilariously sly about something so fetishistically trivial that at times it appears to take in an entire culture through a lens made of cheese.
  11. Stuber
    To be clear, Stuber is a very silly movie: Half the action scenes look like they were shot inside a Cuisinart, the sexual politics are questionable, the violence cartoonishly extreme, and the plot has the general coherence of a wet napkin. But Stuber knows that sense and logic aren’t what its audience came for; we’re here for good dumb fun — and of course, central air.
  12. Joe Somebody
    It turns out that Joe ends up liking the old Joe better too. Who just so happens to be the kind of average-Joe character that continues to make Allen such a tidy, non-Joe bundle.
  13. The Divergent Series: Insurgent
    Taken for what it is, Insurgent is a vast improvement over the franchise’s first installment, mostly thanks to expansion in two arenas: budget and scope.
  14. Loving Pablo
    Escobar’s story hardly lacks for plot points, and director Fernando León de Aronaoa (Mondays in the Sun) hits them all obligingly, if broadly. What he doesn’t carve out much room for is richer character motivations or context.
  15. Sanctum
    As we go deeper into the cave, walls squeezing, water rising, the movie has a narrative pull as sure as gravity.
  16. I Know What You Did Last Summer
    For young people looking for something to do besides doomscrolling, you could do far worse. For those old enough to have seen the first one in theaters, this'll be a decent one to stream later in the year.
  17. Raising Cain
    In the lurid and gonzo Raising Cain, writer-director Brian De Palma doesn’t just rip off Alfred Hitchcock. He rips off himself ripping off Hitchcock: He rides over the top of self-parody into a kind of loony-tunes reflexivity.
  18. Home of the Brave
    Evenness of political keel, combined with a generic filmmaking style, is an artistic weapon way too puny for a successful assault on so tough, bruising, and crucial a subject.
  19. Locked Down
    If Hathaway and Ejiofor are sometimes saddled with talky theatrical monologues that sound far more like a screenwriter's fever dream than the words of any ordinary human, they also commit in a way that manages to makes the leaps in tone and logic work, probably better than they should.
  20. Won't Back Down
    Won't Back Down says that whatever your feelings about the subject, lack of change cannot be the answer to our public-education crisis. Trying to cram an informational exposé and a vintage inspirational awards-bait weeper into one movie, Won't Back Down is awkward at times, yet it's also passionate in a surprisingly smart way. It makes a genuine drama out of impossible issues.
  21. Love the Hard Way
    Adrien Brody completists will appreciate Love the Hard Way, if only as an example of the kind of self-conscious, brat-noir projects their man probably won't be doing anymore.
  22. Daredevil
    Daredevil is the sort of half-assed, visually lackadaisical potboiler that makes you rue the day that comic-book franchises ever took over Hollywood.
  23. The Abandoned
    The gimmick in The Abandoned is that people battle their zombie doubles, whom they can't kill, since they'd be killing themselves. But the movie sinks so deep into deathly atmosphere that there's no life to it.
  24. 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.
  25. Trade
    As a movie, Trade is so-so, but as an exposé of how the new globalized industry of sex trafficking really works, it's a disquieting, eye-opening bulletin.
  26. The Internship
    There’s a reason that it lacks the highs of "Wedding Crashers": The Internship puts us on the side of those who are trying to hold on to respectability, not tear it down.
  27. The Duel
    The plot may be fairly predictable, but Harrelson goes all in as the deranged preacher, and he’s a delight to watch, whether he’s wiggling his eyebrow tattoos or prancing about town on horseback, dressed in an all-white suit. Hemsworth, on the other hand, remains monotone.
  28. Gun Shy
    A half hour in and still, the plot, tone, and setting are incomprehensible.
  29. Overboard
    Overboard lists and wanders through the shoals of secondhand comedy and eventually, just drifts away.
    • 42 Metascore
    • 75 Critic Score
    Lazer Team
    It’s the confidence and energy of the four leads that keep the comedy moving forward.
  31. Stone Cold
    The routinely scripted but kinetic Stone Cold is a throwback to Roger Corman’s Hell’s Angels flicks, in which beer-swilling denim-and-leather-clad freedom riders straddled their Harleys to terrorize the American heartland.
  32. Total Eclipse
    Total Eclipse is pretty unbearable: The movie is dour and patchy and stilted — it leaves you sitting glumly waiting for the next baroque bout of tormented misbehavior.
    • 42 Metascore
    • 75 Critic Score
    Inferno
    Bourne it is not, but the twists come with enough regularity to keep the squishier parts of the plot from mucking up the works.
  34. Captain America: Brave New World
    If this sounds a bit complicated, heavy on exposition, and jumbled, well, that’s because it is. It’s never a great sign when a screenplay has five credited writers, as Brave New World does...Still, Brave New World works significantly better than plenty of other Marvel films.
  35. Superstar
    It barely boasts enough funny material to fill four minutes.
  36. Phenomenon
    Phenomenon (directed by Jon Turteltaub, the guy who sedated us with "While You Were Sleeping") would be pretty unbearable were Travolta not so consistently charming.
  37. Holy Man
    Director Stephen Herek (Mr. Holland's Opus) and screenwriter Tom Schulman (Dead Poets Society) offer no clues, no challenges, nothing to provoke the smallest bubble of curiosity in an audience that waits 40 minutes only to realize Oh, I get it, this isn't going to be Eddie Murphy Funny!
  38. Burnt
    Just when you think you know where Burnt is headed, there’s an underhanded twist about halfway in. And it’s almost enough to set the movie right.
  39. Two Weeks Notice
    Knows what it needs to do for both its stars, does it, and doesn't make a federal case about it. I'd watch these two together again in a New York minute.
  40. Jurassic Park III
    Has no pretentions to be anything more than a goose-bumpy fantasy theme-park ride for kids, but it's such a routine ride.
  41. The 13th Warrior
    The most unexpectedly audacious, exhilarating, wildly creative adventure thriller I've seen in ages.
  42. Jackass: The Movie
    Provokes a suspense halfway between comedy and horror. I'm not sure if I enjoyed myself, exactly, but I could hardly wait to see what I'd be appalled by next.
  43. Wild Mountain Thyme
    It almost seems churlish to single out one aspect of the film for unreality, when the whole thing is essentially one Riverdancing leprechaun short of a fairy tale. And when so many dangerous drinking games can be invented to accompany the rise and fall of Christopher Walken’s mystery brogue.
  44. Stargate
    The film has flashes of psychedelic visual energy, but its story is limp.
  45. Parker
    The movie is a morals-free procession of bang bang bang! and blood blood blood!, and men slamming each other with blunt objects and slicing each other with blades.
  46. Celebrity
    Allen's canniest hire of all is Leonardo DiCaprio, who plays a bratty, destructive young star, juicing the proceedings with a power surge that subsides as soon as he exits.
  47. Taking Care of Business
    The plot is déjà vu all over again, another variation on the proletarian-joker-goes-yuppie formula used in Trading Places, The Secret of My Success, and Opportunity Knocks. In Taking Care of Business, the formula gets boiled down to its bare bones. The movie is nothing but a series of executive signifiers — it should have been called The Trappings of My Success.
    • 42 Metascore
    • 67 Critic Score
    Daddy's Home
    Anders had many opportunities to pit the dads against each other directly, but trades in the cheesy, expected route for devious mind games.
  49. Bicentennial Man
    Director Chris Columbus...seals this comedy in an impenetrable bubble of hollow humanism.
  50. The Event
    Aggressively drab and granular, the movie feels like a late-'80s AIDS passion play given an ill-fitting post-Sept. 11 makeover.
  51. The Rage: Carrie 2
    Emily Bergl plays the misfit heroine -- pale Goth grrrl Rachel Lang -- with a nicely sulky empathy, equal parts hurt and hope.
  52. The Affair of the Necklace
    Slipshod rather than sly. There's no fury to the movie, repressed or otherwise, which may be why when the Revolution arrives, it has all the impact of a guillotine with a deadly dull blade.
  53. Vampires
    The goons themselves, though, look rather chic, flying through the air in Galliano-goes-to-hell garments straight out of Vampire Vogue.
  54. The Stepford Wives
    At no time do the men -- that is, the straight ones -- believably hold the upper hand. In the new town of Stepford, there's no bitterness, no struggle, no competition, none of the scars of the sexual revolution. There's just gay apparel.
  55. Austenland
    Austenland is kind of a one-joke movie, and the film's rhythm is a bit flaccid, but the joke, at least, has a twinge of wit.
  56. Armageddon
    Bay doesn't stage scenes, exactly -- he stages moments.
  57. The Great Wall
    The Great Wall looks like it could be a really amazing video game. Alas, it’s a movie, and kind of a brick.
  58. For Love or Money
    By now, I’m not sure even Donald Trump could love a movie that asks us to get misty-eyed over real estate.
  59. A Journal for Jordan
    Uninspired though it is, A Journal for Jordan delivers on the heartbreak of its premise. You will weep. So if that's what you're after, you couldn't ask for anything more.
    • 42 Metascore
    • 50 Critic Score
    Bug
    Many strange events ensue — the bugs learn to spell out words with their bodies, people get barbecued and devoured — but none of these marvels is believable.
  61. The Bucket List
    The first thing to say about The Bucket List is that Rob Reiner is the rare director who can take all the wonder out of one of the seven wonders of the world.
  62. The Family
    Doesn't just wink at De Niro's history, it leans on it, hard.
  63. Albatross
    Trite lessons are learned. Plotlines play out in familiar arcs. A few blips of sex and drug use aim to make the movie feel more grown-up. Instead, they make it off-limits to the only age group likely to find any charm in its smug Britcom cutesiness.
  64. Fred Claus
    The surprisingly puny haul comes from the jolly, usually sparkling comedy workshop of David Dobkin, who directed "Wedding Crashers," and Dan Fogelman, who wrote "Cars" -- two great movies that both make better stocking stuffers.
  65. From Paris with Love
    A ''fun trash'' movie that's more trash than fun.
  66. Trapped
    The most frightening sight, though, is that of Theron and Bacon, good actors trapped in the muck of making a living.
  67. Underworld
    By the end, I was starting to ponder questions like, If a vampire mates with a lycan-vamp hybrid, which parent will have to convert?
  68. Transformers: Dark of the Moon
    Dark of the Moon is hardly a fleet production, but here Bay makes his best, most flexible use yet of all the flamboyant bigness at his command: Computer-drawn characters and human actors seem to occupy the same narrative for once.
  69. Crazy People
    The movie wants you to giggle and say, ”Yup, we sure are saps, aren’t we?”
  70. Jungle 2 Jungle
    Tim Allen doesn’t do anything new in Jungle2Jungle, but he’s got that Allen-via-Disney persona operating at maximum efficiency.
  71. Breaking In
    It’s a fun, pulpy premise, but sadly, the film takes a route that’s too silly to be taken seriously and too tame to be any fun.
  72. Devil's Knot
    The movie doesn’t grab you emotionally, but director Atom Egoyan (Exotica) teases apart the case’s details with grim fascination.
  73. The Haunting
    The scariest thing about The Haunting is how awful it is. No, worse than awful: desperate. It’s a horror flick afraid of its own audience, as lost in its own geography as the fictional film crew in The Blair Witch Project.
  74. Endings, Beginnings
    If ever there was a movie to suffer to, Endings, Beginnings is it.
  75. Along Came a Spider
    Broody fun.
  76. Night at the Museum: Battle of the Smithsonian
    Battle of the Smithsonian has plenty of life. But it's Adams who gives it zing.
  77. Aliens in the Attic
    A pointless but ultimately harmless family adventure that doesn't mentally assault the 12-and-over set. (Extra points for being 100 percent fart-joke-free).
  78. Abraham Lincoln: Vampire Hunter
    With so much flesh crunching and bloodletting, it could have been scary as all Walking Dead get-out. Instead, the movie plays safe by cutting every theme down the middle - a swing that's effective when splitting wood or vampire skulls, but dull when applied to filmmaking.
  79. Orphan
    Orphan isn't scary -- it's garish and plodding.
  80. The Last House on the Left
    This remake is merely vile (and dull).
  81. Persuasion
    This Persuasion chooses to wear its source material like a thin disposable skin, discarding many of the vital organs (brain, heart) and most ideas of subtlety as it goes. Austen may be immortal, but she's not inexhaustible; maybe it's time to tell another story and let her rest in peace.
  82. Fire in the Sky
    A concrete slab of science-fiction melodrama that, for all its obvious limitations as a movie, plays on zeitgeist fantasies of an alien visitation as surely as Spielberg’s blissed-out fable did.
  83. Next
    An immediately forgettable action pic directed with a blowtorch by Lee Tamahori.
  84. High Tension
    The latest reshuffling of "Chainsaw" tropes.
  85. Take Me Home Tonight
    It does possess a certain backward-glancing innocent appeal.
  86. The Boy
    The Boy, from director William Brent Bell, aims to set itself squarely in the fictional canon of "Chucky" and its brethren, but it ends up trying to do so much that it forgets to scare us.
    • 42 Metascore
    • 67 Critic Score
    Fluke
    Although Fluke‘s theme is a bit too mature for young children and too juvenile for many adults, most renters will get their Kleenex’s worth somewhere, whether in Fluke’s triumph over the insupportable horrors of animal testing or in the humans’ tidy tale of loves lost and won.
  88. Tennessee
    Mariah Carey is perfectly fine playing a waitress who dreams of becoming, yes, a singer -- even if the superstar's presence in such a small venture seems jarring.
  89. Big Daddy
    Much of Big Daddy looks like it was made up on the spot, but Sandler, with his bad-dog eagerness to get caught in the act of misbehaving, pulls you through it.
  90. Jem and the Holograms
    As silly and sometimes nonsensical as it is, the movie is surprisingly sweet and well-intentioned.
  91. A Bad Moms Christmas
    What follows is another slapstick dose of hard-R ridiculosity with a soft-nougat center, but it also passes the Bechdel test maybe better than any other film this year, and its older generation of stars are too smart not to go to town on their stock roles.
  92. Breakfast of Champions
    A movie so unhinged it practically dares you not to hate it.
  93. The Replacement Killers
    Between cycles of gunfights and glowering, Yun-Fat displays some of the dignity and suave good looks that account for his star status (without much chance to show his wit).
    • 42 Metascore
    • 58 Critic Score
    Barnyard
    It feels like Barnyard swipes too much of its plot from "The Lion King."
  95. Arthur Newman
    The way Firth embodies the character, with a robot stare and a flat affect that expresses each thought as a kind of minimalist hologram of emotion, he's playing a cipher who pretends to be a different cipher. How indie-ironic!
    • 42 Metascore
    • 50 Critic Score
    Alex Rider: Operation Stormbreaker
    Alex Rider: Operation Stormbreaker is "Agent Cody Banks" played British and kinda straight -- that is, as straight as you can when your villain, who dispatches foes with a giant jellyfish, is played by a toothpick-chomping Mickey Rourke in purple eye shadow.
  97. The Loss of Sexual Innocence
    It's one of those woozy Jungian art jobs, a series of elliptical, nearly wordless vignettes that are meant to strike a universal symbolist chord. Director Mike Figgis frames the movie with his baroquely contemporary documentary-like version of the Fall.
  98. Blank Check
    Because I’m not a 9-year-old boy, however, this story of a kid who acquires a blank check, cashes it for a million bucks, spends it all, and learns that having stuff isn’t nearly as satisfying as having a father’s love comes across as a calculated, mechanical production owing much too much to Home Alone.
  99. Suburbicon
    The movie does get some fun gory mileage out of its cracked-Pleasantville premise; but mostly it feels like broad farce madly in search of a cohesive center, and a soul.
  100. Courageous
    How you like Courageous - an overtly Christian-targeted production about four police officers learning lessons about God and family - will likely mirror how you view church: It's either an overlong ordeal filled with talky sermonizing or an uplifting communion with your deity and values.
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