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 Woman in Black 2: Angel of Death
    Any tension created during its key moments completely evaporates once the lights come back on. The Woman may be back for another fright, but Angel of Death doesn't haunt like it should.
  2. King Arthur: Legend of the Sword
    King Arthur could have been a rollicking blast. Instead it’s just another wannabe blockbuster with too much flash and not enough soul.
  3. Bubble Boy
    After enduring only a few minutes of this shrill debacle, you'll feel more trapped in the theater than Jimmy is by his bubble.
    • 41 Metascore
    • 67 Critic Score
    Clue
    This screwball comedy turned a rainy-day board game into inspiration — and attempted to answer the question of what Colonel Mustard has up his sleeve.
  5. Splinterheads
    Splinterheads, which aims to be a quirkier "Adventureland," never rises above mildly amusing.
    • 41 Metascore
    • 58 Reviewed by
      Ty Burr
    Lionheart
    By never fessing up to its own bloodlust, Lionheart is, at bottom, chickenhearted.
  7. Knowing
    If you want to know how inept the movie is...well, it's so inept that you may wish you were watching an M. Night Shyamalan version of the very same premise.
  8. Journey 2: The Mysterious Island
    The movie flies by pleasantly, and is then instantly forgettable. Perhaps Jules Verne can explain the science of that.
  9. Beverly Hills Chihuahua
    While George Lopez, Cheech Marin, and Paul Rodriguez are funny men, it's amazing how boring these Latin-shtick cutups can be when none of them gets a single good line.
  10. Larry Crowne
    It's easy enough to accept the romantic-comedy luck of the two finding each another. It's much tougher, and ultimately useless, to buy everything else about this fairy tale of self-reinvention in a stalled economy.
  11. Memory
    The whole thing is so wrapped in leaden dialogue and B-movie cliché that by the last weary, bloodletting hour, you'll envy Alex's ability to forget.
    • 41 Metascore
    • 25 Critic Score
    John Tucker Must Die
    Astonishingly (and offensively), the witless ending comes down harder on the women than the cad.
  13. Mad Money
    Latifah coasts on grit and verve, and Holmes has a goggle-eyed sweetness, but it's Keaton who rules.
  14. Godzilla 2000
    Lands on an imaginative fault line somewhere between tackiness and awe.
  15. Next Friday
    Starts high, gradually bogs down, then dies.
  16. What to Expect When You're Expecting
    As sociology, it's skin-deep, but if you're a parent or preparing to be one, you might see yourself in a few of these folks and have a good time doing so.
    • 41 Metascore
    • 50 Critic Score
    Candyman: Farewell to the Flesh
    Since Barker’s baroque prose visions are too complex for the gore-hound market, they’re bound to be watered down into this kind of bilge.
  18. Black Adam
    Black Adam is what happens when artists say they want to go dark but don't really have the stomach for it. Cue scenes of humorless mid-air wrestling, shake vigorously, wait for the sequel.
  19. G.I. Joe: Retaliation
    It's well-executed technocratic action fluff. But it did leave me buzzed rather than drained.
  20. Best Laid Plans
    An inept low-budget thriller.
  21. The Other Side of the Door
    The true horror of The Other Side of the Door is that Maria, too, has kicked off a vicious cycle of unnatural destruction, as the movie makes clear in its hard-hitting final punchline.
  22. Fountain of Youth
    Unfortunately, there is an uncanny lack of urgency in the film. The characterizations are flat, the would-be quippy dialogue rarely elicits laughs, and the action sequences seldom rise above the level of satisfactory.
  23. Machete Kills
    Machete Kills is gruesomely baroque trash staged with a kinetic freedom that is truly eye-popping, so you can forgive its lapses, like how it goes on a little too long. Rodriguez's only real sin as a filmmaker is that he wants to give you way too much of a crazy ultraviolent good time.
    • 41 Metascore
    • 42 Critic Score
    Mallrats
    A hopelessly stupid movie that should appeal to baked couch potatoes everywhere.
    • 41 Metascore
    • 58 Critic Score
    TMNT
    This all-CG reboot is missing the goofy excitement of the old TMNT.
  26. Hardware
    Had the killer droid been conceived as a charismatic demon, Hardware might have delivered some B-movie kicks. As it is, there’s nothing particularly scary or awesome about this low-tech walking junk pile. It’s as if someone had remade Alien with the monster played by a rusty erector set.
  27. Battleship
    Battleship is a sound vessel floating in Hollywood's oil-slick sea of "Transformers" sequels and vampire riffs.
  28. What a Girl Wants
    In her sassy but scrubbed way, Bynes is a real charmer, and What a Girl Wants is a likable throwaway.
  29. Torque
    The movie is a guzzle of yahoo-Mountain Dew empty-calorie satisfaction: A quick blood-sugar high, an eyeful of bikes and bosoms, and you're out of the theater in 80 minutes. And on a bleak winter's day, that can be meal enough.
  30. Mambo italiano
    This is feel-good filmmaking, to be sure, but the culture clash here is more than a meaningless vehicle for fizzy wish fulfillment. The not-unpleasant result is hearty Italian fare with the half-life of Chinese takeout.
  31. Home Again
    Witherspoon can easily carry an entire movie in her dimples, but it’s hard not to measure Alice against a role as richly written as her recent turn on "Big Little Lies." Here, she’s mostly just a winsome proxy for midlife wish fulfillment — a bubbly brunch mimosa you drink up before the fizz is gone.
  32. Little Ashes
    I can't imagine what Dali or Buñuel would have made of such bourgeois sentimentality.
  33. Struck by Lightning
    Struck by Lightning sticks to generic character sketches of high school student types - the jock, the goth, the cheerleader, etc. - and gives Carson the best lines. In between, some charming, buzzy talents pitch in on this short little lark.
  34. The Rookie
    The plot makes almost no sense, and Eastwood directs in his usual toneless fashion. But in this case, the fact that you can’t always tell the intentional comedy from the unintentional isn’t necessarily a drawback.
  35. The Purge
    The Purge clearly has a lot on its mind, but it never really manages to express it.
  36. Resident Evil: Extinction
    The title gives one hope.
  37. Stand Up Guys
    Stand Up Guys reminds you that these three are still way too good to collapse into shticky self-parody, even when they're in a movie that's practically begging them to.
  38. At First Sight
    Here's a romance without a spark of excitement.
  39. Child 44
    It happens more often than it should: A cast of sterling actors is assembled for a movie that doesn’t come close to equaling the sum of its parts.
  40. Love Wedding Repeat
    If only hilarity ensued; instead, Wedding manages to feel both overwrought and underbaked, consistently squeezing the natural charm out of its players in order to bang their hapless miscommunications and personality quirks into the ground. It's enough to make it through once; Repeat may be a bridge too far.
  41. Ride Along
    Hart's exasperated dervish shtick has moments of real live-wire anarchy, including one priceless gag at a firing range. Will it be enough to make Hart a household name? Maybe. But both he and his fans deserve better.
  42. Jumanji
    Jumanji is cardboard Spielberg, a B-movie scrap heap of spare parts lifted from "Jurassic Park" and "Gremlins" and "Back to the Future".
    • 41 Metascore
    • 58 Critic Score
    Mr. Woodcock
    Uninspired, sure, but sporadically, spasmodically funny.
  44. Alvin and the Chipmunks: The Squeakquel
    If only for the sake of adults, couldn't the folks behind the Alvin films have had the good grace to turn Alvin and the Chipmunks: The Squeakquel into a musical?
  45. Tom Clancy’s Without Remorse
    Vengeance is wrought without remorse and even less sense. The only sure thing, judging by the promise of a post-credits scene, is a sequel.
  46. Sarah Palin: You Betcha!
    Though a great deal of this material (e.g., Troopergate) seems like old news, Broomfield is so dogged that he makes 
 a case, in a deeper way than we've seen, that there's a 
 terrifying remorselessness to Palin's feuding nature.
  47. The Waterboy
    Becomes yet another lame sports farce.
  48. Simpatico
    Stumbling adaptation of a Sam Shepard play about men, horses, chance, and lies.
  49. Woman on Top
    Has all the mood enhancing flavor of a tropical cocktail made with watered down rum and fake fruit juice.
  50. Agent Cody Banks
    The real mission is product placement, of course: The movie seems to be set against the silvery backdrop of the Sharper Image catalog.
  51. Meet the Fockers
    The old-pro twosome of Streisand and Hoffman make such sexy and inviting ethnics (as a certain kind of movie likes to think of a certain kind of Jewish character) that they blithely prevail over the been-there-done-that gags.
  52. Jesus Henry Christ
    As with his previous film "Fireflies in the Garden," writer-director Dennis Lee scratches the skin of family bonds until it bleeds. This time, he uses whimsy as a salve.
  53. Moonfall
    Mostly, though, as TV newscasters inform us, civilization has taken a serious nosedive — definitely the case when a well-financed Emmerich disaster flick can't even get its dumb-fun groove on.
  54. La Mujer de Mi Hermano
    You could dismiss this swankily shot Latin American trifle as an upscale soap opera, but that would be an insult to soap operas.
  55. First Sunday
    If Tyler Perry ever wanted to turn "Dog Day Afternoon" into a treacly after-school special, it would probably end up looking a lot like this.
  56. 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.
  57. 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.
  58. Stay
    Eventually I gave up on meaning and began instead to study the profuse imagery -- and also the flat characters and anchorless performances.
  59. Spun
    Spun is accomplished, but it's also numbing. It's hard to have much connection to people who never connect with each other.
  60. Village of the Damned
    When the children in Carpenter’s Village flash their glowing eyes, hypnotizing the hapless grown-ups into committing a series of increasingly lurid suicides, the kids don’t seem much more bizarre — or frightening — than your average 10-year-old Nintendo freak.
  61. Career Opportunities
    In a sense, John Hughes doesn’t produce movies anymore. He produces entertainment machines, and Career Opportunities has been shamelessly patched together — like Frankenstein’s monster — from bits and pieces of Home Alone and The Breakfast Club.
  62. Drillbit Taylor
    A failing-grade comedy about the wishful triumph of high school dorks over high school bullies.
  63. Dumb and Dumber
    There are limits to how much comic irony can be wrung out of the sight of two grown men acting like complete cretins.
  64. Pompeii
    Most of the film is a chintzy but watchable B-movie knockoff of "Gladiator," with Kit Harington, the English actor from "Game of Thrones," mustering very little in the way of facial expressivity in the role of Milo.
  65. Stoned
    Thorogood allegedly confessed on his deathbed (in 1993) that he killed Jones, and while the movie convinces us that this might have happened, it never truly reveals who Brian Jones was before he fell apart. His indulgence, and his demise, play out in a void.
  66. Lucky
    It is fun, though, 
 to see the younger Hanks play a murderer - it's like seeing Justin Bieber work blue.
    • 41 Metascore
    • 42 Critic Score
    The Perfect Match
    As if to make up for the predictable main plot, The Perfect Match is bogged down with a slew of uninteresting B-stories.
  68. The Woman in the Window
    The final 30 minutes of the film descend into something so bloody and outrageous it nearly works as camp. Still, it's hard not to think of the better movie buried somewhere in Window's odd feints and histrionics, if only its makers had trusted themselves — or been trusted — to tell it.
  69. Jiminy Glick in Lalawood
    In his curdled-butterball way, Jiminy Glick may be the most acidic showbiz send-up since Andy Kaufman's Tony Clifton. This movie, though it has its moments, is a pedestal he didn't need.
  70. Hard to Kill
    At this point, revenge thrillers have become so standardized that these films are really all the same film — a Mixmaster blend of Death Wish, Dirty Harry, Enter the Dragon, and Rambo. A star with a personality would only gum up the works.
  71. Sahara
    This insanely busy, exceedingly long, and sometimes endearingly preposterous rendering has simply gotten the directions reversed in its insistence on sticking only to where men-who-make-adventure-flicks have gone before.
  72. Silk Road
    There's only so much real-world intrigue a crime committed almost entirely via ones and zeroes can entail, and the script's halfhearted attempts to make it all Mean Something feel more than a little callow in the end.
  73. The Limits of Control
    The Limits of Control, even with its flow of star cameos (Tilda Swinton, Gael García Bernal, a frenetic Bill Murray), is a listless long pause that rarely refreshes.
  74. Crank: High Voltage
    The result, an eye-popping strobe of flesh and blood, is as visually stunning as it is absurdly offensive, sure to thrill some while leaving others in a state of outrage-induced catatonia.
  75. What Planet Are You From?
    Nothing more than a sort of dumb, sort of clever fish out of water comedy.
  76. Little Birds
    An alienated-teen movie that surfs along on the whims and casual cruelties of its central character runs a risk: It can wind up as random and undisciplined as she is. Instead, Little Birds is a touching and distinctive achievement.
  77. Death of a Dynasty
    An amiably raucous, scorched-earth mockumentary.
  78. One Eight Seven
    The prospect of a teacher driven to his students’ level of sociopathic vengeance might have packed a ghoulish wallop had the film viewed it as tragic. Reynolds, however, is just grinding out exploitation thrills.
  79. Passengers
    Passengers is not very good. In fact, it’s pretty bad.
  80. The Salton Sea
    A twisty, showy, atmosphere-saturated drama that revels (in a post-post-Tarantino-and-''Trainspotting'' way) in sadism and in-your-face seediness -- and attracts a cast of coolios primed to play extreme.
  81. Double Jeopardy
    This toothless thriller...feels like a strained reworking of ''The Fugitive.''
  82. Monster Trucks
    The final result is… rather unspectacular.
  83. Running Scared
    Running is a fevered smashup, as if Hollywood dug up Sam Peckinpah's corpse and forced it to adapt "Grand Theft Auto: Vice City" for the screen.
  84. Sabotage
    You won't respect yourself in the morning, but you might have some dumb, lizard-brain fun.
  85. G-Force
    The first 3-D film produced by Jerry Bruckheimer turns out to be similar to 2-D projects from the same noise-making producer--heavy on action scenes and heavy, too, on message.
  86. Surviving the Game
    Essentially, the movie is Cliffhanger with one third the firepower. Ice-T, looking like a depressed lion in his thick Rasta braids, remains a charismatic camera subject, though he’s too much the snaggletoothed urban runt to make a convincing action dynamo.
  87. Fear and Loathing in Las Vegas
    The movie is a true folly, yet there's no denying that Gilliam has gotten some of the hallucinogenic madness of Thompson's novel on screen.
  88. Miss Bala
    It’s mostly left to Rodriguez to carry the absurdity on her shoulders, and the fact that she makes it so watchable is a real testament to her abilities. Next time, may the material rise at least halfway to meet her.
  89. Before I Go to Sleep
    Sleep is 91 minutes of delightfully twisted tension and three minutes of eye-rolling treacle. Kidman and Firth are both excellent in their sadness and savagery, and Joffe builds tension far better than most of the horror movies available at your local Cineplex this Halloween weekend. If only he had quit while he was ahead.
  90. Bad Boys
    It's like a series of cliches exploding in your face.
  91. Four Christmases
    Crassly enjoyable.
  92. Super Troopers 2
    Isn’t aggressively terrible or outrageously offensive. It’s just harmless, pointless, and meh. You’d think with 17 years at their disposal these guys would be able to come up with some jokes that weren’t so half-baked and dumb. Alas, this is low-hanging fruit all the way.
  93. Constellation
    Deeply odd films are often deeply personal ones, and Constellation, a dazed, inchoate drama about a mixed-race Alabama family, tells a story that's clearly close to the heart of writer-director Jordan Walker-Pearlman.
  94. The Grudge
    The Grudge is overly reliant on jump scares and the sheer number of characters involved here means that some are thinly-drawn, though the crackerjack cast of actors breathes at least some life into their respective parts. The real asset here — as well as the movie’s main likely problem for many viewers — is its bleak tone.
  95. Nowhere to Run
    The producers of Nowhere to Run simply toss out the mousetrap. They make the dismal mistake of turning Van Damme into a softy, a sensitive lunk who puts up his dukes only because he wants to help his new family. The former kickboxer would do well to remember that the most heartfelt performance he was put on this earth to give revolves around the tender sound of snapping limbs.
  96. White Chicks
    A tawdry excuse for a movie, but it has a handful of shameless giggles.
  97. 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.
  98. Hop
    It's "Alvin and the Chipmunks" with only one chipmunk, and (if possible) even less fun.
  99. Wild Target
    The cast, though, includes a great bunch of Brit faves who have all done better work elsewhere.
  100. The Quiet Ones
    Aside from a few cheap but effective shocks and jumps, there's nothing here that horror fans haven't seen in better recent films like "The Conjuring." Not to mention all of those wonderful Hammer films from the '50s and '60s.
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