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 Week Of
    It feels like Smigel and Sandler just shot the first draft of their script without fine-tuning or polishing any of the jokes.
  2. Priest
    Its B-movie sins are many, worst among them an icy hero and a plot that feels like it was built from relics of other, better films.
  3. Darling Companion
    Lawrence Kasdan's comedy strikes a note of rib-nudging blah coyness that feels very 1987.
    • 41 Metascore
    • 50 Critic Score
    House of Wax
    Except for when Paris is on screen giving us the winking sex eye, Wax is just a museum of gory, joyless, easy shocks.
  5. Metro
    In Metro, he’s been replaced by a slick, businesslike machine of an actor, playing an uninspired variation on the Axel Foley character he’s done for over a decade now, since starring in 1984’s Beverly Hills Cop. Only this time he’s not even funny.
    • 40 Metascore
    • 58 Critic Score
    Illegal Tender
    For a second, the movie has the snap of a truly surprising thriller -- like a Hispanic "Kill Bill" -- about an aging lioness willing to kill to protect her cub.
  7. Jakob the Liar
    Of course, there's still the Williams schmaltz factor.
  8. The Hunted
    The Hunted stalks the masculine psyche with sharp knives, but it tracks its audience too noisily to bag us.
    • 40 Metascore
    • 50 Critic Score
    Kaena: The Prophecy
    Originally conceived as a videogame, Kaena is now, instead, a creamy-colored yet derivative sci-fi fantasy with a few rip-offs so blatant (''The Empire Strikes Back,'' ''Alien,'' etc.) that even kiddie fans not yet mentally agile enough to make sense of the loopy plot could pick them out.
  10. Some Body
    Will take you places you haven't been, and also places you have.
  11. Mighty Morphin Power Rangers: The Movie
    Mighty Morphin Power Rangers is an utterly depersonalized thrill machine, yet it’s exactly the film’s go-go relentlessness that is likely to make boys and girls eat it up.
  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. Lethal Weapon 3
    The movie zips around without any true forward momentum. The stars carry you along, though.
  14. Vantage Point
    Vantage Point starts to slide off the rails when it tracks a tourist (Forest Whitaker) and his trusty camcorder; instead of Zapruder-like intrigue, the episode has him running around like an agent in a rote thriller.
  15. Evolution
    Visually witty and even marvelous when it comes to depicting the spectacular creatures evolving at a speed previously known only in the Bible.
  16. Paranormal Activity 4
    PA4 develops the story ever so slightly (not enough to satisfy fans) and delivers a few good scares (not enough to satisfy newbies); mostly, it plays like a overlong prologue for the already-in-the-works PA5. Here's hoping this is just the tension-racking lull before the next big scream.
    • 40 Metascore
    • 50 Critic Score
    Tempest
    Though real-life couple Cassavetes and Rowlands bounce well off one another and Raul Julia does a wacky musical number with goats (set to the tune of ”New York, New York”), the magic’s spare.
  18. Table 19
    Slight even by the wafer-thin standards of the wedding rom-com genre, writer-director Jeffrey Blitz’s Table 19 offers a couple of mild chuckles, six actors who’ve all been far better elsewhere, and a mercifully brief running time.
  19. The Power of One
    The Power of One spends so much screen time reveling in the eloquence and bravery of its hero and depicting South Africa’s blacks as an anonymous horde of victims that the film, in effect, becomes their victimizer.
  20. Act of Valor
    When the bullets are flying, Act of Valor is undeniably tense and thrilling.
  21. The Boss
    A few moments are fantastically bonkers, but granting director duties to McCarthy’s husband, Ben Falcone, feels more like an act of love than wisdom.
  22. Horrible Bosses 2
    It's the small, tossed-off moments — Bateman's deadpan mugging, Day's frenzied cluelessness, and Sudeikis' smarmy one-liners — that land the best.
    • 40 Metascore
    • 0 Critic Score
    Final Analysis
    Insanely ridiculous.
  24. Unhinged
    It doesn't help that Pistorius' Rachel spends the first 75 of it like a woman who's never seen a horror movie — if there were noises in the basement, she'd run right down to investigate with a plastic spork in her hand — and the final 15 like a ninja assassin who invented them.
  25. The Good Heart
    The Big Apple of this evanescent tone poem is an invented nocturnal landscape featuring speechifying eccentrics and absurdist moments that feel northern European in sensibility.
  26. Igor
    The visuals are a kick; the groan-inducing dialogue isn't.
  27. Here Comes the Boom
    A cloddish, harmlessly drecky comedy from the Sandler factory of crude mush.
  28. Derailed
    A junky thriller that mistakes brute-strength plot twist, showy violence, and the against-type participation of Jennifer Aniston for earned excitement.
  29. Nightwatch
    Nightwatch is a horror for reasons that have nothing to do with suspenseful moviemaking.
    • 40 Metascore
    • 42 Critic Score
    Juno and the Paycock
    Hitchcock deserves credit for putting his personal artistic flourishes aside to create a straightforward adaptation, undistracted by technical wizardry. Unfortunately, the film is essentially a vacuum with no sense of intrigue or urgency — there's practically no character development, thematic weight, artistic innovation, emotional resonance, or narrative thrust.
  31. Suicide Squad
    Writer-director David Ayer (End of Watch) skillfully sets up the film, introducing each of the crazies with caffeinated comic-book energy. But their mission...is a bit of a bust. The stakes should feel higher.
  32. Appleseed
    At this point, there's something almost masochistic about the way animators in Japan use cheesy ''Westernized'' heroes to fuel their fantasies.
  33. Nightbreed
    Barker spins grisly fantasy out of sexual obsession, yet his style here couldn’t be less obsessive. It’s cluttered and rather incoherent, as though the trailers to four different horror movies had been spliced together.
  34. Barb Wire
    This rusted-future comic strip comes at you in shards -- exhaustingly derivative images of mayhem and titillation, with Lee, in her bad-girl bondage gear, as its blank vixen. If you didn't call her babe, she wouldn't exist.
  35. Martin Lawrence Live: Runteldat
    Lawrence makes you believe in the character you're watching. He does an amazing little piece of acting.
  36. Max Keeble's Big Move
    Garish, squeal-pitched preteen comedy.
  37. The Phantom of the Opera
    The result isn't liberated from the stage; it's trapped, with waxworks literalness, onscreen.
  38. Dance Flick
    Enjoyably dirty-minded sendup of when-ballet-met-hip-hop youth musicals.
  39. The Goldfinch
    The Goldfinch feels like more than the sum of its disparate parts; a painting in the wrong frame, maybe, but one whose imperfect beauty still draws you in.
  40. The Virginity Hit
    Works cleverly because it emerges right out of the everyone's-an-exhibitionist YouTube age
  41. Monkeybone
    There's unwieldy mess -- but there's also unruly brilliance to this dark and funny story about the havoc that ensues when a man's uncensored Freudian id is allowed the run of the place.
  42. Message in a Bottle
    On paper, the movie sounds unbearably schlocky, but Costner plays Garret the reluctant backcountry prince as mythic but also foxy and life size.
  43. 3 Days to Kill
    The movie never finds a way to blend the emotional and the rat-a-tat-tat into one seamless package the way that Besson did in his one and only good movie, The Professional (1994).
  44. Welcome To Marwen
    If Marwencol made your heart go out to Mark, Welcome to Marwen does something quite different. It makes you want to back away from him slowly.
  45. Wicker Park
    It would be tempting to say that fractured time sequences in movies have become a cliché, except that Wicker Park makes your brain spin in surprising and pleasurable ways.
  46. Paris 36
    It's like a pastry that's been sitting on the shelf for 60 years.
  47. Good
    Good has a stagy fustiness, but it's worth seeing for Mortensen, who makes this study of a "good German" look creepily contemporary.
  48. Lord of the Dance in 3D
    The best stuff: Wow, can those kids hoof - and so, even past his half-century mark, can the preening, Chicago-born Mr. F.
  49. The Last Word
    Shirley MacLaine’s well-deserved reputation as a salty, snappy grand dame — forged from later-career work like "Terms of Endearment," "Steel Magnolias," "Postcards from the Edge," "Bernie", etc. — unfortunately precedes her in this sloppy, saccharine drama costarring Amanda Seyfried.
  50. Remember Me
    As a shameless contraption of ridiculously sad things befalling attractive people, the engorged romantic tragedy Remember Me stands tall between those towering monuments to teen-oriented cinematic misery, Love Story and Twilight.
  51. Fantastic Four
    This clumsy, cheesy, chintzy adaptation, with its F/X that look dated the moment you see them, is like something left over from the '60s.
  52. Deliver Us From Evil
    This rote exorcism-is-real claptrap.
    • 40 Metascore
    • 75 Critic Score
    The Comedian
    The Comedian explores the dynamics of such unorthodox attraction with its heart in the right place, but for all of its performative charm, it still suffers the untimely misfortune of following an old, white man grousing about the state of affairs as the world diversifies around him.
    • 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.
  55. Sleepwalking
    A soporific dud, which should have been tossed out of Sundance.
  56. Alexander
    An exhausted epic, one that Stone has directed with an almost startling lack of personality or vision.
  57. Scary Movie 4
    And as ever, the jokes are a jumble of the gross, the baggy, the raunchy, the mistimed, and - every once in a while - the refreshingly incorrect.
  58. How to Kill Your Neighbor's Dog
    Branagh shows us the comedy of a man who is too clever to understand that in the guise of dreading fatherhood, he is really at war with how much he longs for it.
  59. Bulletproof Monk
    As ungainly in its jammed-together East-meets-West-ness as Steven Seagal in a yoga pose.
  60. Clockstoppers
    Stops time, all right -- it stretches 94 minutes into something that begins to feel like infinity.
  61. Fire Down Below
    The star hasn’t lost his gift for making sadism seem impish. After a while, however, you may notice that the film’s mayhem is accomplished almost entirely through editing.
  62. National Treasure
    The character of a scruffy computer nerd, played with might-as-well-enjoy-myself charm by little-known actor Justin Bartha, steals the picture from glossier players.
  63. Shrink
    It wants to be "Good Will Hunting" set in the land of "Entourage," but its bummed-out touchy-feeliness is every bit as concocted as its overly jaded showbiz corruption.
  64. Margaret Cho: Assassin
    Even those who may agree with Cho's agenda are never allowed to forget that it is an agenda.
    • 40 Metascore
    • 42 Critic Score
    Smurfs: The Lost Village
    A saccharine fantasy-adventure that’s sure to tide the tots over until a shinier one (Cars 3, anyone?) comes along to take its place.
  66. Aloha
    It happens. Really talented directors sometimes step into the batter’s box, take a gigantic swing, and whiff.
  67. Insidious: Chapter 2
    Its lack of both originality and any real memorable moments feels shameless and lazy. Adding insult, the movie ends on a cliffhanger, guaranteeing that Insidious: Chapter 3 will soon be coming to a theater near you.
  68. Teenage Mutant Ninja Turtles: Out of the Shadows
    So while Out of the Shadows may not be any smarter than the first installment (or really all that smart at all), it’s certainly a lot more fun.
  69. Pitch Perfect 3
    Mostly this is all just pretext for dreamy postcard shots of Europe, a metric ton of slapstick, and as many highly specific vocal riff-offs as one empty airplane hangar can handle.
  70. Beautiful Creatures
    Overstyled pseudo-thriller.
  71. Head in the Clouds
    Stuart Townsend, Theron's reallife boyfriend, may have inner fires as an actor that have yet to be revealed, but in Head in the Clouds he's a somber puppy who looks as if Theron could eat him alive. I wish she had.
  72. Pay It Forward
    Pushes and pushes and pushes the emotional throttle without respite.
  73. 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?
    • 40 Metascore
    • 25 Reviewed by
      Ty Burr
    Ernest Goes to Jail
    The script tries to work up sympathy for a character who’s not much more than the bastard trailer-park spawn of Jerry Lewis. Sadly, this is everything you ever thought an Ernest movie would be.
  75. Double Impact
    What makes Double Impact, for all its dull-witted theatrics, an energizing experience is the picture’s astonishing level of ballistic mayhem.
  76. Toys
    The film is a jokey, nattering fiasco, as awful as Hudson Hawk. And yet, like that famous disaster, it never loses its aura of precocious self-satisfaction.
  77. Jupiter Ascending
    Jupiter Ascending’s early cleverness dries up quickly, especially when Kunis is offscreen, leaving us with just another incoherent sci-fi spectacle.
    • 40 Metascore
    • 67 Critic Score
    Saw II
    The contest is close, but Saw II is just barely a better B flick than "Saw."
  79. The Benefactor
    Gere, an actor capable of great nuance, hams it up so mightily you’d think the film was sponsored by Boar’s Head.
  80. The Man Who Cried
    There's only one performer in the movie who looks completely at ease with what he's doing: the horse.
  81. Anacondas: The Hunt for the Blood Orchid
    There's no enjoyably outlandish hiss to this variation on the formula, and no Ice Cube or Owen Wilson, either. This time, a ship of capitalist fools (and no movie stars, unless you count utility player Morris Chestnut as a headliner) steams along the river in Borneo.
  82. Trouble Every Day
    A demented, orgiastically gory vampire/sex parable.
  83. Man on a Ledge
    Despite the occasional dumb fun - especially with the heist portions - the leap of logic required to make it all work is enough to leave your brain pancaked on the sidewalk.
  84. Passengers
    Turns out to be just another dud in the genre of revisionist mysteries that have been messing with our heads since Haley Joel Osment saw dead people. Only this time, the big reveal doesn't so much twist the plot as snap its neck.
  85. Jack Frost
    Jack Frost is so treacly and fake it makes you feel like you’re trapped in a winter-wonderland paperweight.
  86. A Kiss Before Dying
    With its waxy color scheme and nonexistent pace, the movie is like an homage to Hitchcock’s worst period.
  87. Deep Impact
    Leder establishes a syncopated rhythm unlike anything we're used to in a catastrophe spectacle.
    • 40 Metascore
    • 75 Critic Score
    Double Dragon
    This irrepressibly action-packed adventure may be based on a computer program, but it gets its real kick from martial- arts acrobatics, comic-book-vivid art direction, and a future-shock vision inspired by The Road Warrior, Robocop, and Escape From New York. What 12-year-old could resist?
  89. Wild Wild West
    The fusion of cheekiness and deliberately overscaled fantasy never jells.
  90. The Day the Earth Stood Still
    The original Day the Earth Stood Still had a paranoid poetry that lifted the audience up even as it warned the world to come together. This one is so dour it just comes off as a scolding.
    • 40 Metascore
    • 42 Critic Score
    Duets
    A leaden piece of whimsy that looks for profound life lessons among a group of karaoke bar aficionados.
  92. The Cell
    The Cell is foremost about singular imagery, a succession of still pictures strung together frame by frame.
  93. Marilyn Hotchkiss' Ballroom Dancing & Charm School
    Really, about all that unifies the movie is its inclination to turn little people's dreams into limply ''affectionate'' camp.
  94. Peaceful Warrior
    In the ranks of improbable gymnastics coaches, Nick Nolte falls just below the cartoon version of Mr. T.
  95. Butter
    Self-righteous and smug in its use of heartland stereotypes, the movie backfires by assuming that its intended liberal audience is just as intolerant and condescending as the conservative opposition insists it is.
  96. Beastly
    Spectacularly poor judgment in everything from acting to costuming (Olsen's Harajuku-troll get-up is scarier than her curse) puts Beastly right on the cusp of the so-bad-it's-good Hall of Shame.
  97. X-Men Origins: Wolverine
    The effect-laden showdowns feel more dutiful than daring, and the rare moments of fun are parceled out frugally, like precious nuggets of adamantium.
  98. Brick Mansions
    It's fun to watch at first. All that twirling and sliding is a nice change of pace from the usual seat-shaking pyrotechnics.
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