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. Dracula Untold
    It works neither as a sweeping historical epic nor as an action-horror hybrid.
  2. Green Lantern
    Reynolds makes Hal a perfectly functional comic-book hero, but there's a big difference between functional and super.
  3. Angel Eyes
    A cumbersome dud, grows draggier with each new revelation.
  4. Simon Birch
    It allows for little of the dark and funny in Irving's picaresque morality fable. No room! Not with the buckets of bathos thrown our way, substituting for mass-market spiritual uplift!
  5. The Change-Up
    Soon enough it's back to stale jokes about spousal date nights.
  6. Percy Jackson: Sea of Monsters
    Sarcastic quips and cynical attitudes abound, maybe as a way for the movie's makers to telegraph that they know this is all just so much kid stuff. But if the characters can't muster genuine awe for their adventure, it's a tall order to ask us to do it for them.
  7. Swing Kids
    The movie is a somber, smoothly crafted drama about a wily adolescent who senses there's something rotten going on in his country but can't quite put a finger on it.
  8. Lethal Weapon 4
    At the Lethal Weapon plant, what you see, after 11 years, are the rusting remnants of a once innovative model.
  9. Jigsaw
    It feels too long, and it’s only 90 minutes. Jigsaw’s lifecoach-gone-mad ruminations have never sounded less threatening: He is become mansplainer, destroyer of drama. But there are lasers. I liked the lasers.
  10. Dark Places
    It’s never pushed far enough. Instead, Dark Places just becomes an overstuffed, low-simmer potboiler with too many improbable detours and overly convenient twists.
  11. Fame
    The teachers (including original cast member Debbie Allen as school principal) turn out to be the best part of the show.
  12. Dirty Dancing: Havana Nights
    There are two sparks of light amid the trifling dialogue and bad faux-'80s love-on-the-beach montages in Havana Nights, and they are the film's costars.
  13. Consenting Adults
    This is the sort of cloddish thriller in which characters keep putting themselves in dangerous situations because…the movie requires them to be in dangerous situations. The one true surprise has nothing at all to do with the plot: It’s Kevin Spacey’s hair. Dyed a glittering blond, it sets off his smirky, come-hither mug with maximum perversity.
  14. Clash of the Titans
    As Zeus, Liam Neeson twinkles where Laurence Olivier kvetched, and Ralph Fiennes, as Zeus' dark brother Hades (who has egged on the revolt to challenge Zeus), has a slinky nastiness.
  15. The Goods: Live Hard, Sell Hard
    Ed Helms and Ving Rhames score laughs. But the breakout is "Step Brothers'" Kathryn Hahn as the tough (sales)girl who keeps up with the boys.
  16. Why Him?
    It all works in theory. But the execution’s off.
  17. The Green Hornet
    In a last-minute tweak, the production has also been meaninglessly 3-D-ified - never mind that there's nothing whatsoever 3-D-ish going on. Maybe those clumsy 3-D glasses are meant to let moviegoers mimic the superhero mask-wearing experience?
  18. Bringing Down the House
    Stock farce characters and stale scenes of mayhem fill the downtime between the Martin-Latifah skirmishes.
    • 39 Metascore
    • 33 Critic Score
    Bait
    A tired action thriller determined to play the race card every which way for every which kind of viewer, seems hopelessly behind the curve.
  20. 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.
  21. The Nutcracker and the Four Realms
    The rare quiet moments in Nutcracker suggest Foy might be a real movie star. Let’s give her a real movie and find out.
  22. Nights in Rodanthe
    Lane and Gere mime adult courtship with the efficiency of synchronized swimmers. Yet in this ocean of emotion, they look like they're drowning.
  23. Life as We Know It
    There's something about Holly: She's the most ridiculous, irritating, two-dimensional rom-com heroine since...Katherine Heigl's last rom-com.
  24. Zoe
    An unimaginative waste of science-fiction potential.
  25. Aftershock
    The first, pre-'quake half hour is such a patience-testing slow burn that director Nicolás López runs the risk of extinguishing the viewer's interest altogether. But when things head (metaphorically) south they do so with an escalating, apocalyptic ferocity which continues until the very last second.
  26. Provoked: A True Story
    Based on a true story, this Indian variation on a theme of "The Burning Bed" emphasizes the psychological freedom the inmate finds behind bars.
  27. Man of the Year
    Williams turns out to be exactly the wrong candidate for the job, a comedian singularly uninterested in letting anyone else get a word in, but with nothing to say.
  28. Silk
    Wan, generically pretty adaptation of Alessandro Baricco's 1996 novel.
  29. The Bodyguard
    The Bodyguard is an outrageous piece of saccharine kitsch — or, at least, it might have been had the movie seemed fully awake. Instead, it’s glossy yet slack; it’s like Flashdance without the hyperkinetic musical numbers and with the romance padded out to a disastrously languid 2 hours and 10 minutes.
  30. Backdraft
    Fire, as this movie makes clear, is nothing if not photogenic, and Howard has done a beautiful job of conjuring both its danger and its deceptive, primal beauty.
    • 39 Metascore
    • 16 Reviewed by
      Ty Burr
    Dr. Giggles
    At this late date, the rules of the adolescent slice-‘n’-dice genre have codified into ritual (teens + sex = death), suggesting that those who rent this may have bigger problems than just bad taste.
    • 39 Metascore
    • 25 Critic Score
    Never Back Down
    Movie is dopey. And with its emphasis on stupid violence, xylophone abs, and getting yourself on YouTube, it's yet another product that makes you feel bad about today's youth culture.
    • 39 Metascore
    • 67 Critic Score
    3 Ninjas Kick Back
    Filled with martial-arts action, bathroom humor, and slapstick, 3 Ninjas Kick Back even has a politically correct kicker: The champion ninja is a girl.
  34. Dot the I
    The movie is in love with its own story loops and fancy, pop-dream cinematography from Almodóvar associate Affonso Beato, which is fine; it's also in love with its own indie-culture cleverness, which isn't.
  35. Paul Blart: Mall Cop
    Has a few surprises in store. The biggest is James, an unexpectedly nimble master of the face-plant, the failed jump, and the lopsided tumble.
  36. The Darkest Minds
    There is no resolution for any of the story lines haphazardly dangling like electrical wires. No villain is defeated, no secrets are explained. When the credits roll, there has been no catharsis for the 90 minutes of movie preceding it, which makes it all feel like a protracted introductory sequence for a sequel that, god willing, will never come.
  37. Virtuosity
    Washington is wasted here. Kelly Lynch is wooden. Crowe has a ball going over the top, but how much taunting and eyeball popping can a performer do?
  38. As Above, So Below
    Like other movies of its ilk, it's missing a very simple bit of next-level Hollywood technology: a tripod.
  39. Resident Evil: Retribution
    Writer-director W.S. Anderson's overseeing of the Resident Evil zombie franchise has proven to be both lunatically haphazard and dementedly enthusiastic.
  40. The Gunman
    Sean Penn doesn’t make movies very often these days. So when he does, you go in with certain expectations. Sadly, it’s best to leave them at the concession stand if you’re planning on enjoying The Gunman.
  41. Daddy Day Care
    A parent-and-kid-oriented comedy about the adventures of men doing the hard work of mommies, which couldn't be more timely -- or less delightful.
    • 39 Metascore
    • 50 Critic Score
    World Traveler
    Crudup is the best navigator a road movie like World Traveler can have, but even he can't single-handedly transport these goods from nowhere to somewhere.
  43. When Will I Be Loved
    A ripe psychosexual compost heap of a drama that emits a provocative scent of rot and nonsense.
  44. Legendary
    A well-meaning dud.
  45. Final Destination
    An unexpectedly alert teen-scream disaster chiller.
  46. Down Periscope
    Periscope is filled with such familiar faces as Bruce Dern and Rip Torn playing squabbling admirals, and Harry Dean Stanton in a tiny role as a grizzled engineer. None of them are used to good effect.
  47. The Other Woman
    This one has its own wonky charm and intermittent moments of genuine, depraved hilarity; it's like "Bridesmaids" drawn in crayon.
  48. Johnny English Strikes Again
    Every gag in this movie has already been done before, and better, presumably by one or both of the earlier Johnny English films. I promise that I will never force myself to find out.
  49. Runaway Bride
    The difference between "Pretty Woman" and Runaway Bride is that we can no longer buy Roberts in her tearful romantic-melancholy mode. It seems vaguely patronizing now.
  50. But I'm a Cheerleader
    Poisonously smug, one-joke indie comedy.
  51. The Sitter
    A needlessly frenzied, pseudo-raunch comedy that whips up a whole lot of R-rated antics only to arrive at crunchy PG-13 lessons in love and tolerance.
  52. Tammy
    It's a broad, helter-skelter farce whose best bits hinge almost entirely on the considerable charms of its star.
    • 39 Metascore
    • 58 Critic Score
    Arthur and the Invisibles
    "The Professional's" Luc Besson has made a fair share of artfully bad movies. Arthur and the Invisibles -- half-live-action, half-CG kid's adventure -- is (by a hair) more bad-bad, like "The Fifth Element," than good-bad, like "The Big Blue."
  54. Justin Bieber's Believe
    When the movie occasionally does confront its hero’s foibles, its answers are disappointingly pat.
  55. P.S. I Love You
    FYI, there's zero chemistry between P.S. I Love You's two commodified headliners. P.S.: The plus in the harsh grade goes solely to the divine Lisa Kudrow, delivering desperately needed laughs as the twitchy widow's husband-hunting best friend.
  56. Freddy's Dead: The Final Nightmare
    It’s disappointingly ho-hum, without the spectacular — and often very funny — special effects that have become the hallmark of this series.
  57. Pirates of the Caribbean: Dead Men Tell No Tales
    What we get is the usual mash of swashbuckling nonsense and soggy mythology: There will be romance, and revelations, and some silly gold-plated cameos (hello there, Sir Paul McCartney! And whoops, goodbye). Through it all, Norwegian duo Joachim Rønning and Espen Sandberg (the Oscar-nominated Kon-Tiki) feel less like directors than shepherds.
  58. Fat Albert
    The sermonizing on behalf of good clean fun and hard old effort (Cosby co-wrote the script) is as faded as Big Al's sweater after too many days on earth.
  59. Cry_Wolf
    Cry_Wolf is underscored with idiot adolescent excitement (and gets extra absurdist points for casting Jon Bon Jovi as an educator).
  60. Exit Wounds
    In its low grade way, this blithely brutal cops and drugs thriller is an efficient hot wire entertainment.
  61. The Intruder
    The whole thing would be more fun, you start to feel, if Intruder just committed fully to the schlocky midnight-movie glory of it all; let Quaid’s lawn-mowing wingnut swing that ax not just for soft vulnerable body parts, but the stars.
  62. Stage Fright
    It’s half "Friday the 13th," half "Phantom of the Paradise," and just cheesy enough to work.
  63. Planet 51
    Delivers a few pleasant surprises, including a smart story -- a reverse-E.T. riff that plops an American astronaut down in a world of just-like-us-only-green creatures -- and clever characters.
  64. August
    Anyone who thinks that Josh Hartnett isn't a true movie star should see his riveting, high-wire performance in August.
  65. Underworld: Awakening
    Why are they fighting again? Never you mind. Just sit tight till the next action sequence (it won't be long), and get ready to laugh - with equal parts scorn and fanboy joy - as Beckinsale strikes another Rodinesque pose under a slo-mo shower of inhuman innards.
  66. Planes
    What Planes lacks in novelty, it makes up for with eye-popping aerial sequences and a high-flying comic spirit.
  67. Till Human Voices Wake Us
    Petroni takes the poem at face value, turning diaphanous literary imagery opaque and literal.
  68. From Prada to Nada
    For a film ostensibly about the importance of finding a little spice and flavor in your life, From Prada to Nada is surprisingly bland.
  69. 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.
  70. The Runner
    The Runner is a well-meaning character study with an admirably cynical ending, but it’s too cold to ever fully draw you in.
  71. Krystal
    Krystal feels like the result of an elaborate blunder wherein three different scripts were accidentally shuffled together and then — presumably through a series of hijinks — the director accidentally shot it all straight through.
  72. The Dirt
    It’s cartoonish, fast-paced, a bit cheesy, and ridiculously dumb fun.
  73. After the Sunset
    A fun-in-the-sun heist caper that director Brett Ratner stages as if he were the activities director of a cruise ship.
    • 38 Metascore
    • 33 Critic Score
    Sister Act 2: Back in the Habit
    To say the script is lame is to be charitable, but Whoopi’s irrepressible charm makes the nunsense watchable. Once again Hollywood doesn’t know when to leave well enough alone: Renting this sequel is like advancing a grade and getting last year’s teacher.
  75. The Mysteries of Pittsburgh
    A stillborn rendering of Michael Chabon's first novel.
  76. The Flintstones
    The Flintstones is a big, shiny package of comic nostalgia, as much a theme park as a movie.
  77. Mile 22
    It’s both a bit confusing and a bit confused. Fortunately, it’s also loaded with some of the crunchiest action scenes since the John Wick movies thanks to Indonesian martial-arts maestro Iko Uwais.
  78. Senseless
    Her setups here are so witless and pedestrian that there's no imagination to the crude slapstick punchlines; we're just watching a bland jester pantomime sensory overload.
  79. Our Family Wedding
    Be prepared to swallow a lot of empty-calorie jokes in which blacks and Latinos insult and misunderstand one another in a spirit of vigorous buffoonery.
  80. The Texas Chainsaw Massacre
    The gruesomely unnecessary remake of The Texas Chainsaw Massacre is such a smorgasbord of slimy grunge that to call the movie gross wouldn't do it justice -- it's downright sticky.
  81. Taking Lives
    After ''Seven'' and three ''Hannibal'' hits, the audience tolerance for baroque serial-killer flourishes has been duly amped. We require sustained creativity in our sick violence, and Taking Lives, after a token bit of ghastly foreplay, loses its life.
  82. The Chronicles of Riddick
    This is a movie so devoted to metal that it couldn't care less about the flesh it destroys.
  83. Michael
    The director, Nora Ephron, displays her peerless gift for making everything seem snappy and mushy at the same time, and Travolta's performance has a slovenly, I-can-do-anything-and-you'll-still-love-me obnoxiousness.
  84. Entourage
    Entourage, the show and the movie, is about five insanely lucky knuckleheads who have each other’s backs in a town that’s more likely to stab you there.
  85. Terminator Genisys
    The story isn’t just confusing, it’s a betrayal to anyone who’s invested brain cells in the Terminatorverse over the past 31 years.
  86. Gemini Man
    Somehow though, the film registers as a strange, airless whiff — stale, inert, and oddly melancholy. The script rarely rises above the schematics of a thousand thrillers that languish on late-night cable, and the almost willfully cliché dialogue sounds as if it’s been generated by some kind of free-with-purchase screenwriting app.
    • 38 Metascore
    • 42 Critic Score
    Eragon
    Though the movie, which was adapted from a book written by Christopher Paolini when he was a teenager, aims high by ripping off the classics (even down to Eragon’s murdered uncle), what it most recalls are the cheesy lost sword-and-sorcery epics from the '80s, awful movies in the vein of "Yor: The Hunter From the Future" and "The Blade Master."
  88. Empire
    Leguizamo owns Empire, the first film to capture the live-wire crackle of his one-man stage shows -- He's front and center in nearly every scene, and he holds the screen with a simmering self-assurance.
  89. Blow Dry
    Written by Mr. ''Full Monty'' himself, Simon Beaufoy, and, like ''Monty,'' sprinkles pixie dust over the heads of worn out local folk.
  90. The Jungle Book 2
    The same money-minded dreamers who found a way to ''Return to Neverland'' have hacked a path back to Baloo heaven.
  91. Bad Boys II
    Bad Boys II proves that it's possible to pack a movie with so much popcorn that it leaves the audience overdosed.
  92. 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.
  93. An American Haunting
    The unnecessarily famous cast for such a standard, creaking, fake-spooky ghost story (with Bible verses thrown in for good measure).
  94. Dark Streets
    Alas, the flimsy plot -- less a whodunit than an isn't-it-screamingly-obvious-that-that-guy-done-it! -- will have thriller fans singing the blues.
  95. Mechanic: Resurrection
    No one involved in Resurrection seems like they can be bothered to break a sweat. It’s a movie made by folks who know they can do better but couldn’t be bothered.
  96. Men in Black: International
    International is better than Men in Black II and worse than Men in Black III, and they’re all bad, so erase this sentence from your memory.
  97. Balls of Fury
    A joke of a title in search of a movie with a single good joke.
  98. The Life Before Her Eyes
    Perelman pays such cooing attention to surfaces that our response to violence carries no more importance than our response to the delicate jewelry around the adult Diana's neck.
    • 38 Metascore
    • 58 Reviewed by
      Ty Burr
    Just Visiting
    Forgoes the destructo silliness of the original in favor of one too many bland self help subplots.
  100. Radio
    Radio is assembled from small, hard stones of ignorance and intolerance paved over by large, mushy examples of community goodness.
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