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. Never Die Alone
    Almost everything that frames the drug dealer's tale is facile and second-rate. Simply put, you don't believe it. What you do believe is DMX's cruel charisma.
  2. The Vatican Tapes
    The Vatican Tapes is basically “Exorcism’s Greatest Hits” played by a schlocky cover band.
  3. Ouija
    Within the pungent field of other wide-release scare jobs and films derived from cardboard-based time-killers for kids, Ouija stacks up relatively well, thanks to its look and a confident performance by Cooke.
  4. No Escape
    Even ignoring the racism — which is pretty much impossible — No Escape is a cliché-ridden, artless relic.
  5. Confessions of a Shopaholic
    Breathless and petite yet powerfully in-your-face, Fisher combines dizzy femininity and no-nonsense verve in the manner of a classic screwball heroine. She's like Carole Lombard reborn as a tiny angel-faced dynamo.
  6. The November Man
    The utter lack of originality eventually sinks the movie.
  7. Goats
    Ellis (The Good Wife's Graham Phillips), an alienated teen, smokes weed and hangs out with a goat-obsessed, pot-cultivating surrogate father (David Duchovny, hidden by hair). New Age details aside, though, Ellis is easily identifiable as a distant cousin-by-genre to J.D. Salinger's Holden Caulfield.
  8. The Rite
    The Rite commits the supreme sin of making the devil dull.
  9. Nutty Professor II: The Klumps
    Messy and scattershot, with a plot that's little more than a dirty version of ''Flubber.''
  10. Laws of Attraction
    Operates on such outdated, unimaginative conventions of movie chemistry that Moore and Brosnan end up appearing older and stodgier than necessary.
    • 38 Metascore
    • 50 Critic Score
    The Other Side of Heaven
    Slick, fact-based, missionary-themed drama.
  12. Raising Helen
    Hudson's sunny, ringlet-tossing appeal fits snugly into the film's happy-homemaker ideology: She makes caring for three kids she barely knows look downright glamorous.
  13. Paparazzi
    It doesn't take long for the film to devolve into a ludicrously far-fetched Celebrity Death Wish.
    • 38 Metascore
    • 42 Critic Score
    The Seeker: The Dark Is Rising
    A movie that should've been made shortly after its source material -- Susan Cooper's Newbery winner -- debuted in 1973. As is, it feels entirely too generic to work today.
  15. Seeking Justice
    The movie is never dull, though, and Cage acts every moment as if he means it. As the cult's leader, Guy Pearce, looking deeply creepy with a shaved head, has a cruel playfulness.
  16. Chaos Walking
    Mikkelsen has played iconic villains before, and while Prentiss isn't nearly as memorable as Hannibal Lecter or Le Chiffre, he still manages to imbue Chaos Walking with a sense of danger.
  17. Bad Santa 2
    As long as you know what you’re in for, the film is a hilarious good time, a respectable continuation of what made the first "Bad Santa" so fun.
  18. The Collection
    Remarkably, the result manages to be both more preposterous and more efficient than its predecessor, with a couple of deaths occurring so swiftly they border on the subliminal.
  19. 12 Rounds
    You will probably find yourself praying for this duel's knock-out punch to arrive long before it actually does.
    • 38 Metascore
    • 75 Critic Score
    DOA: Dead or Alive
    If you only ever see one bad movie about warrior chicks who meet on a tropical isle for a fight contest, make it DOA: Dead or Alive.
  21. What the #$*! Do We (K)now!?
    The film treats its audience like fidgety junior-high schoolers, piling on the sub-Koyaanisqatsi cityscapes and cheesy episodes with Marlee Matlin as a lonely photographer, plus bouncy cartoons of human cells who look as if they'd be happier chasing stains in bathroom-cleanser commercials.
  22. Sliver
    For all of Stone’s skill, there’s something naggingly remote about her. She has the beauty and confidence of Grace Kelly without the warmth that made Kelly’s sexiness seem at once playful and glamorous.
    • 38 Metascore
    • 33 Critic Score
    BASEketball
    Exhibits none of the infectious offhand tastelessness of their hit show and all of the insistent overkill of a Mel Brooks joke gone horribly wrong.
  24. The Ward
    At least Carpenter the spook-meister knows how to goose you.
    • 38 Metascore
    • 42 Critic Score
    Think Like a Man Too
    In several instances, you can sense that director Tim Story simply rolled the proverbial ball out to Hart on the court and called the play: Make it funny. Hart scores occasionally, but Think Like a Man Too loses by double digits.
  26. August Rush
    Robin Williams (yes, I'm afraid so) plays a kind of Manhattan-based Fagin with a touch of Midnight Cowboy to his wardrobe. And ants will play havoc in any cynic's pants as this loopy, goopy fairy tale about a kid looking for his parents oozes to its predictable finish.
  27. Free Birds
    In the end, the jokes simply aren’t funny enough to lift these flight-challenged fowl off the ground.
  28. The Moth Diaries
    Her (Harron) torpid adaptation of Rachel Klein's novel about female sexual desire, jealousy, death wishes, and vampires at a girls' boarding school defeats Harron's talent for exploring darkness on the edge of kinkiness.
  29. The Astronaut's Wife
    Nothing but mood... it simply has too few surprises to justify its indulgent atmosphere of malignant revelation.
  30. 2 Fast 2 Furious
    2F2F, under the cut-to-the-chase direction of John Singleton, strips the package known as the Mindless Summer Movie down to its barest components of wheels, skin, and a pulsing soundtrack.
  31. I Don't Know How She Does It
    The second insurmountable problem is the difference between Parker's performance as a fortysomething banker, wife, and mother musing (in voice-over) at her computer and her previous performance as a single, thirtysomething girl-about-town in "Sex and the City": There is none. I don't know why she does it.
  32. Flubber
    As computer-generated special effects have grown more advanced, they threaten to overwhelm such minor matters as story, character, and emotion. This, however, is not a problem in Flubber (Walt Disney), an agreeably unhinged slapstick jamboree.
  33. And So It Goes
    The Rob Reiner of the past might have tackled a challenging topic, even in a romantic comedy. But that director, who hasn't made a good movie since the mid-1990s, is gone. So it goes.
  34. Navy Seals
    Navy SEALs isn’t just the most stupidly didactic action movie since The Green Berets. It’s the dullest action movie since The Green Berets.
  35. Fools Rush In
    The result is a stilted culture clash and a lot of monochromatically conflicted facial expressions from Perry before he's thawed by the love of an ethnic woman.
  36. The Medallion
    The Medallion makes you long for Tucker -- and for Jackie Chan to fly without digital wings.
  37. Rugrats Go Wild
    Mildly amusing, but compared to Pixar's splashy fish story, the rudimentary drawings and childish gags of Nickelodeon's latest feature look, in a word, cartoonish.
  38. A Dog of Flanders
    If you've been longing to see the worst family entertainment of 1966, A Dog of Flanders may be the movie for you.
  39. Death to Smoochy
    Tells a moldy-oldie, not-nearly-as-nasty-as-it-thinks-it-is joke. Over and over again.
  40. Don't Say a Word
    If there's such a thing as joyless competence, it's exemplified by the grimly sensational kidnap thriller Don't Say a Word.
  41. The Pink Panther
    Martin's gift for physical and vocal comedy is as deft as ever.
  42. Yours, Mine and Ours
    The movie, directed with a gym teacher's whistle by "Scooby-Doo's" Raja Gosnell, is a contempo soft-focus remake of the 1968 original starring Lucille Ball and Henry Fonda.
    • 38 Metascore
    • 25 Critic Score
    Boris and Natasha
    The slapstick might appeal to some kids, although it’s extremely dumb and, even worse, just not funny.
  44. Third Person
    The three main narratives cut back and forth between New York, Paris, and Rome, which is the best thing the movie has going for it: picturesque locations. Unfortunately, by the time we're done taking in the sights and Haggis finally coughs up his third-act puzzle-box twist, it comes off as a big metaphysical So What.
  45. Men, Women & Children
    The problem isn't so much what the film is saying but its shrill, alarmist tone. You don't have to be a sociological genius to look at all of us walking down the street like zombies, obliviously staring at our smartphones, and know that something's wrong.
  46. Spaced Invaders
    Set on Halloween, this intentionally cheesy sci-fi parody doesn’t offer much variety among its human characters, but its animatronic aliens — who look like sourpuss versions of Spielberg’s E.T. — are amusingly obnoxious.
  47. Crossing Over
    Crossing Over is so eager to go for the emotional jugular that it never quite forges an enlightening point of view.
  48. Ben-Hur
    This arena, unfortunately, is no Thunderdome. The chariot race is sloppily framed, choppily edited, and droopily choreographed, with special effects that look like they needed another few passes through the CGI machine.
  49. Jurassic World Dominion
    Even with the original cast on board, there's surprisingly little chemistry or humor, and the movie makes repeated pit stops to stress family values.
  50. Tulip Fever
    As Chadwick (The Other Boleyn Girl, Mandela: Long Walk to Freedom) piles on the coincidences and misdirections, the movie finally collapses under its own schematic weight, and wilts to the ground.
  51. Murder Mystery
    Aniston and Sandler, paired before in 2011’s "Just Go With It," relax into their roles as if their only stake in Mystery is to enjoy the free trip to Italy and have fun running down cobblestones.
  52. Hillbilly Elegy
    Hillbilly Elegy is two movies, one laughably bad and one boringly bad.
  53. Amos & Andrew
    Samuel L. Jackson, call your agent — and fire him.
  54. Blade: Trinity
    Blunt-witted, visually pedestrian, and overly long, with too many scenes of Blade and his cohorts standing around in darkened corridors, waiting for their enemies to show up. The action, however, is as throat-grabbing as you want it to be.
  55. I Am
    An earnest, lumpy macramé of a personal nonfiction project.
    • 38 Metascore
    • 42 Critic Score
    The Return
    Mellow -- nay, snoozy -- atmospherics trump actual scares, and it makes almost zero sense.
  57. Cell
    While it’s nice to see Cusack and costar Samuel L. Jackson downplay rather than go big, Cell has a been-there-done-that quality that winds up feeling a bit disappointing.
  58. Out for Justice
    What’s numbing about this sub-Eastwood potboiler isn’t just the grisliness of the violence but the absence of any possibility that Seagal will stumble, or show doubt or pain, or have to challenge himself in order to defeat his enemies.
  59. Random Hearts
    Might best be described as bereavement porn.
  60. Little Nicky
    There are laughs to be had, yet the movie is, if anything, more strenuous than it is funny.
  61. Final Destination 2
    The only pleasure to be derived from the resulting carnage comes from the Rube Goldbergesque chain reactions that precede each fatality.
  62. Gothika
    Comes from the same jolly homage-to-schlock-shock producers who remade ''House on Haunted Hill,'' and the emphasis is shamelessly on ornate scares. But with its high-gloss cast and French art-house actor and director Mathieu Kassovitz (''Hate'') in charge, the movie also shoots for class.
  63. The Adventures of Sharkboy and Lavagirl 3-D
    Like choral singing and travel photography, this adventure is more fun for participants than it is for spectators.
  64. Adore
    Adore has the distinction of featuring some of the most laughable dialogue in any movie this year.
  65. The Words
    Cooper, who looks appealingly wolfish in his expensively tailored suits, plays the whole thing with a dutiful, earnest expression lacquered on his face, his eyes misting on cue at the exact same moments yours will be rolling into the back of your head.
  66. Made of Honor
    A nice cookie-cutter comedy, no more and no less, but Dempsey, with his relaxed charm, and Monaghan, with her soft and peachy sensual spark, rise to the challenge of making friendship look like the wellspring of true love.
  67. Reindeer Games
    Displays no ambition to be anything more than a synthetic sense-jolt conveyor of the week.
  68. Amelia
    A frustratingly old-school, Hollywood-style, inspirational biopic about Amelia Earhart that doesn't trust a viewer's independent assessment of the famous woman pictured on the screen.
  69. Paper Man
    Concentrate instead on the delightful performances. A thespian shoutout goes to Reynolds (his hair bleached bright yellow for the gig) for his jaunty way with a cape, tights, and the hands-on-hip poses of superherodom.
  70. Ace Ventura: Pet Detective
    Carrey suggests an escaped mental patient impersonating a game-show host-and, what's worse, his hyperbolically obnoxious shtick is the whole damned show.
  71. Striptease
    Striptease lets down its own performers right along with the audience. It’s a Christmas tree someone forgot to string with ornaments.
  72. Dirty
    When the florid speeches of volcanic rage and frustration draw to a close - and when Collins and Gooding complete their acting exercises - we still have no clue who these men are and what sent them down their intersecting moral dark alleys.
  73. Forever Strong
    Despite all the macho posturing, the corny story is just as sappy as anything on Lifetime.
  74. Underdog
    This digitized update, with Jason Lee as a huskier, more generic Underdog, mostly drops the doggerel, but the endearing airborne-beagle effects help to offset the formula twists.
  75. The Last Legion
    Every once in a while, though, Firth's eyebrow hints, Can you believe I'm wearing this dorky leather breastplate?
  76. Knock Off
    Van Damme and his cronies (including Lela Rochon, Paul Sorvino, and, for no immediately graspable reason, Rob Schneider as Van Damme's rabbity sidekick) race, speed, shoot, chop, and zip through scenes of such festive mayhem, plot is a clunky afterthought, like a lopsided fake Prada label on a cheap nylon knapsack.
    • 37 Metascore
    • 58 Critic Score
    Annapolis
    Compellingly reserved and inscrutable at the start, Franco starts to lose us by the second hour, when his character's still not showing up for roll call on time, and isn't charismatic enough to bring us over to his side.
  78. Baywatch
    Honestly, I’ve seen more narratively ambitious Mad Libs.
  79. Another Gay Movie
    Stephens stages Another Gay Movie in a style of low-budget fluorescent overkill, but a handful of the gags are low-down funny.
  80. Anaconda
    Directed by Luis Llosa with all of the subtlety of a snake-oil salesman, is in the great tradition of cinematic cheese, as processed as Kraft Singles slices. [18 Apr 1997, p. 48]
    • Entertainment Weekly
  81. My Big Fat Greek Wedding 2
    The winking ethnic jokes weren’t all that revolutionary in the first film, and this time around, they feel even more stale.
    • 37 Metascore
    • 67 Critic Score
    Freddy vs. Jason
    So can Freddy beat up Jason, or what? Let's just say that neither one would have stood a chance against Abbott and Costello.
  83. Be Cool
    The hell of it is, Be Cool is tepid entertainment that could be cool if it spent less time entertaining us as if we were demanding a definition of rhythm.
    • 37 Metascore
    • 25 Critic Score
    Resident Evil: Afterlife
    Afterlife is slow-moving but relentless, and judging from a post-credits teaser that promises yet another sequel, it has an unquenchable appetite for your brain cells.
  85. Judy Moody and the Not Bummer Summer
    The lesson is that fun can't be planned, but the film is so airless (think iCarly as a videogame) that there isn't a truly playful moment in it.
  86. Son of God
    At best, this version succeeds as a Sunday school supplement. But the blandness is enough to make you long for Mel Gibson's "The Passion of the Christ."
  87. Serenity
    It wants to be trashy, pulpy fun that toys with your mind and your expectations. Sadly, it just ends up insulting both.
  88. The Tourist
    The Tourist isn't a debacle, but it's a caper that's fatally low on carbonation.
  89. Crocodile Dundee in Los Angeles
    The punchlines are as tired as Hogan looks.
  90. Riding the Bullet
    Falls short of its source.
  91. What's the Worst That Could Happen?
    Maybe the worst thing that can happen is that every other movie at the multiplex will be sold out this weekend.
  92. Domino
    The movie is trash shot to look like art imitating trash.
  93. xXx: State of the Union
    This is a B movie rooted in gut-level stirrings of power and retaliation.
  94. Wrath of the Titans
    For a movie like Wrath of the Titans, which is basically "Gladiator" crossed with "Lord of the Rings" crossed with a special-effects demo reel (call it Lord of the Rinky-Dink), he's (Worthington) the perfect actor.
  95. The Lone Ranger
    The action climax just goes on and on, making The Lone Ranger the sort of movie that delivers too much too late and still manages to make it feel like too little.
  96. Evan Almighty
    The message is so good-hearted, so inarguable, so dull.
    • 37 Metascore
    • 75 Critic Score
    Waist Deep
    Curtis Hall keeps slipping in surprising social and emotional flavorings rarely found in the genre.
  98. Charlie St. Cloud
    The surreal thing is, Zac Efron can't do despair.
  99. Annabelle
    For a superior experience, go buy a disturbing-looking doll that says ''Don't go see Annabelle'' when you pull its string.
  100. Miracle at St. Anna
    Miracle isn't powerful, it's muddled and diffuse.
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