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. Stone
    Milla Jovovich slinks cartoonishly as Stone's seductive wife, on a mission to compromise the lawman. Lordy.
  2. Burlesque
    Earnestly ersatz down to every spangle, dance move, plot turn, and line of hokum dialogue, Burlesque is a showbiz pic for these American Idol times - a time when we agree to pretend that mediocre mimicry of better artists is good enough to keep us entertained. We agree to pretend that quality is in the eye and ear of the undemanding beholder.
  3. Little Fockers
    Comedy has changed. Jack can only give his son-in-law the stink eye so many times before the whole "I'm watching you" pantomime gets stale.
  4. 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?
  5. Enter the Void
    Director Gaspar Noé proved a shock poet in "Irreversible" (2003). In Enter the Void, he's a shockingly tedious show-off.
  6. The Romantics
    Clumsy camera work adds to the pre-wedding jitters in writer-director Galt Niederhoffer's pashmina-thin drama about attractive self-congratulatory Yale alumni gathering for the nuptials of two of their own.
  7. Don't Be Afraid of the Dark
    Neither colorfully brutal nor especially fun. It's a plodding, derivative gothic potboiler: "The Shining" meets "Coraline," with a touch of "Gremlins" played (boringly) straight.
  8. For Colored Girls
    Perry has taken Shange's feminist word-and-movement portraits of disenfranchised African-American women and turned those howls into...a maddeningly choppy mess of a Tyler Perry movie.
  9. Gulliver's Travels
    Strips the source material down to its recognizable parts and then builds something completely new out of them. Unfortunately, the result is entirely Lilliputian in ambition, even for a children's movie.
  10. 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.
  11. 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.
  12. The Dictator
    What's shocking this time is how tame Sacha Baron Cohen's newest wild man is, for all the kerfuffle the comedian can stir up on the ­promotional trail.
  13. The Twilight Saga: Breaking Dawn - Part 1
    What we learn in this all-pain/no-pleasure episode is that marriage feels like a life sentence, weddings are miserable events, honeymoon sex is dangerous and leaves a bride covered in bruises, and pregnancy is a torment that leads to death in exchange for birth.
  14. Spy Kids: All the Time in the World
    The fourth installment of Robert Rodriguez's franchise that keeps adding dimensions even as it loses charm would have been better titled "Spy Kids: All the Time Puns in the World."
  15. Alvin and the Chipmunks: Chipwrecked
    Good news: The shrill CG rodents, who last infested theaters in 2009's Squeakquel, are stranded on a jungle island with little hope of survival. Bad news: They've brought us along.
  16. Dream House
    This suburban gothic is a logy, convoluted mess.
  17. Anonymous
    Thumpingly silly yet self-serious period-piece what-if.
  18. 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.
  19. One Day
    A drippy, uninvolving movie adaptation.
  20. 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.
  21. The Dark Tower
    Bad dialogue, lame plot, fine. The bigger issue: How could a film with Elba and McConaughey have so little swagger?
  22. Dylan Dog: Dead of Night
    Never mind that Dylan Dog: Dead of Night is loosely based on an Italian comic series from the 1980s; this low-rent adaptation owes an embarrassingly big blood debt to HBO's "True Blood."
  23. Hansel and Gretel: Witch Hunters
    An intermittently fun, but overexcited and predictable mish-mash.
  24. Here Comes the Boom
    A cloddish, harmlessly drecky comedy from the Sandler factory of crude mush.
  25. Passion Play
    This underworld fairy tale is so soggy and sentimental it's like a new genre: Hallmark noir.
  26. Upside Down
    Upside Down is a very fancy piece of junk.
  27. The Cold Light of Day
    The result apes "The Bourne Identity" so slavishly yet so boringly it winds up with no identity at all.
  28. Playing for Keeps
    The central question of the movie becomes: Can George triumph over his inability to stop hot women from throwing themselves at him?
  29. W.E.
    The movie is a folly, a desultory vanity project for its director and co-writer. But for those very reasons, W.E., by world-renowned personage and lesser-known filmmaker Madonna, is not without twisted interest.
  30. Seventh Son
    (Bridges) has a tendency to make mistakes, especially when it comes to science fiction and fantasy titles. He has followed up the minor disasters that were "R.I.P.D." and "The Giver" with Seventh Son.
  31. The Son of No One
    The more that secret comes out, the more incoherent (and ludicrous) the film gets.
  32. The Watch
    If this amateur justice league spent as much time analyzing clues as they did analyzing their junk, in every slang variation available in the Urban Dictionary, the murder mystery in The Watch could have been solved on the first night of surveillance.
  33. 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.
  34. Trouble with the Curve
    Even those who don't know a foul tip from a chicken wing will be able to spot the desperate plays.
  35. 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.
  36. Hyde Park on Hudson
    It's tastelessness like this, served up as fair-game dish to a Downton Abbey-loving audience, that sours the flavor of this tittery production.
  37. 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.
  38. Bullhead
    Overheated yet bizarrely opaque criminal character study from Belgium.
  39. 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.
  40. Red Hook Summer
    Red Hook Summer has some fantastic gospel numbers, but as drama it's a casserole that never comes together.
  41. Stoker
    The movie wants to be Hitchcockian, but it's the flat-footed Hitchcock of "Marnie" that Park evokes. His filmmaking here is hermetic and lugubrious, with each physical movement meaninglessly heightened and every line hanging in the air with (empty) significance.
  42. Stolen
    The longest stretch of logical plotting lasts about forty seconds, and the deep-rooted silliness makes it hard to take anything in the film seriously. But at least it has the decency never to ask us to.
  43. LUV
    The rapper and actor Common has become a highly skilled screen star, but this touchy-feely dud does him wrong.
    • 53 Metascore
    • 42 Critic Score
    Penguins of Madagascar
    Aims primarily for the kiddies, racing from one frenetic action sequence to another like some haywire Walter Lantz cartoon.
  45. Snitch
    The film tries to paint in shades of gray with vague criticisms of the war on drugs, but the absurdity of its he-man Everyman plot ends up turning its moral palette a muddy brown.
    • 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.
  47. The Monuments Men
    The Monuments Men sounds like a what's-not-to-like? movie, but it turns out to be a bizarre failure.
    • 47 Metascore
    • 42 Critic Score
    Hercules
    When Johnson is wearing the head of the slayed Nemean lion in battle, walloping enemies with his tree-trunk sized club, and heaving charging horses to the ground with remarkable ease, he's in his Rock comfort zone. But as a tortured hero hampered by self-doubt, Johnson labors.
  49. The Lords of Salem
    Unfortunately, it’s just a witchy mess.
  50. 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.
  51. Byzantium
    The best thing in the movie is Arterton's sultry, claw-baring turn, but mostly it's a rudderless riff on "Let the Right One In."
  52. Only God Forgives
    It's a solemnly preposterous piece of designer revenge pulp, with actors who stand around bathed in red and blue light like David Lynch mannequins in between scenes of torture and murder.
  53. Tiger Eyes
    Best to forget the movie version exists and keep your happy childhood memories intact.
    • 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.
  55. Kika
    What's ultimately shocking about Kika is how empty mayhem can be made to look.
  56. 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).
  57. Ready to Wear (Prêt-à-Porter)
    Ready to Wear is messy and vaguely nasty -- a blur with attitude.
  58. Some Girl(s)
    The things that once made Neil LaBute's movies seem like tossed grenades — the loutish protagonists, the sadism toward women — now come off as more dated than scandalous.
  59. 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.
  60. Adore
    Adore has the distinction of featuring some of the most laughable dialogue in any movie this year.
  61. Are You Here
    In Mad Men mastermind Matthew Weiner's big-screen directorial debut, the aggressively unfunny Are You Here, all of the dark humor and delicate character shadings we're used to seeing on his TV series are conspicuously absent. He's swapped nuance for blunt-edged numskullery.
  62. Dumb and Dumber To
    The ultimate sad realization is not that Dumb & Dumber To doesn't match the original's good-time quotient, but that it might not even be as good as—yikes — "Dumb and Dumberer: When Harry Met Lloyd."
  63. The Purge: Anarchy
    When the situation is played totally straight, as it is for eighty percent of the running time, the message is boring: We'd all commit murder, theft and anarchy if only we could. With a narrative as depressively simplistic as that, we do find ourselves identifying with the characters in the movie—counting the minutes until the Purge is over.
  64. Blackhat
    Occasionally, Mann shows flashes of the sort of springloaded action set pieces he was once hailed for, like a shoot-out during a religious parade. But mostly they just come off as warmed-over parodies from a onetime master aping his own style.
  65. Self/less
    Self/less’ greatest crime is that it’s not enough of anything: Not brainy enough to party with the theories about consciousness that Ex-Machina delivered earlier this year, nor is it over-the-top enough to compete with the campy goofballery of something like Limitless.
  66. Pan
    Hugh Jackman gives the movie a bit of twinkle as a pirate who breathes pixie dust to stay fresh and relevant. Maybe the people behind Pan should have snorted some.
  67. 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.
  68. The Lazarus Effect
    I would have loved to see more from the filmmakers, daring to fail while staking out some new terror incognita instead of just going through the motions of an experiment for which we already have the results.
  69. Ice Age: Collision Course
    The Ice Age series was never great cinema, but there’s always been a sense of heart under all the wisecracks and zany antics. Collision Course abandons that in favor of already stale pop culture references and laughless jokes.
  70. 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.
    • 47 Metascore
    • 42 Critic Score
    The Giver
    It falls apart with a slapdash final act that doesn't work as drama or action and only serves to undermine Jonah's heroics.
  72. Knight of Cups
    Essentially shapeless and paced like the tide rolling in, Knight of Cups should be reserved for hardcore Malick fans only, those who have the patience to metaphorically wade through the literal wading, which there happens to be a lot of in this movie.
  73. She's Funny That Way
    She’s Funny That Way is posted as a love letter to the classic screwball comedies of Hollywood’s golden age, but delivers ersatz Woody Allen instead; it’s like "Bullets Over Broadway" minus the mob plot and 90 percent of the charm.
  74. Aloha
    It happens. Really talented directors sometimes step into the batter’s box, take a gigantic swing, and whiff.
    • 53 Metascore
    • 42 Critic Score
    The Better Angels
    It feels more like a poem. Or, at times, a symphony. But it's much less effective as an actual movie.
  76. Cooties
    Neither scary enough to be a horror film nor funny enough to be a comedy.
  77. The Rover
    A major disappointment. Bleak, brutal, and ultimately pointless.
  78. 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.
  79. Get Hard
    Get Hard is not only a bad movie but a profoundly wasted opportunity.
  80. Moms' Night Out
    It's a shame that this glossy production doesn't seem to realize it's actually promoting an altogether different message: when moms dare to leave the house, everything goes wrong.
  81. If I Stay
    If I Stay never bothers to go after authenticity when there's a cliché hovering nearby. That may not be enough of a drawback to prevent teenage audiences from lapping up the movie with a spoon, but they certainly deserve better.
  82. 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.
  83. Mortdecai
    The movie is too odd and randy to play for kids on an Austin Powers level, and too broad to really work as farce. But Depp, god bless him, fully commits, and finds a few genuinely funny moments amidst all the outsize mugging and mild sociopathy.
  84. London Has Fallen
    The new sequel, London Has Fallen, implausibly ups its predecessor’s stakes to "Die Hard in the City of London." Unfortunately, widening the scope this dramatically causes the entire fragile action-movie axis to spin wildly out of control.
  85. Lullaby
    A raft of fine actors – including Amy Adams, Richard Jenkins, and Downton Abbey’s Jessica Brown Findlay – are wasted in a sour, callow family drama that mistakes constant yelling for emotional tension and fortune-cookie aphorisms for wisdom.
  86. Welcome to New York
    The film, which sparked enough controversy that French theaters refused to pick it up, spends too much time bogged down in its more decadent scenes to spark any new insights.
  87. Affluenza
    The generational conflict — overly ambitious parents and their disaffected millennial children — plays so on-the-nose it almost seems like satire, but it’s really just bad writing.
  88. F/X2
    The movie itself is convoluted and almost unbelievably lackluster.
  89. Joy
    If only Russell trusted Mangano’s true story. Instead, he’s turned her life into a over-staged mess of awkward exposition, contrived dialogue, and characters so willfully unreal they feel acrylic.
  90. Sinister 2
    Sinister 2 doesn’t know what it wants to be, and doesn’t add up to much.
  91. The Young Messiah
    As this year’s other Jesus movies go, at least Risen managed to add new characters and perspective to one of the world’s most well-known stories. The Young Messiah struggles to hold its audience’s attention.
  92. Godzilla: King of the Monsters
    Before anyone reading this starts complaining that I just don’t get what movies like Godzilla: King of the Monsters are all about, that I’m the sort of killjoy who should just relax, let me say that it would be a lot easier to take it less seriously if the people who made the movie cared enough to take it more seriously.
  93. The Man from U.N.C.L.E.
    The early-’60s styles are chic, the Euro locales are swank, and the music cues (including a nod to Ennio Morricone’s Once Upon a Time in the West score) are fantastic. Too bad the plot and the lead performances are so lifeless.
  94. Triple 9
    The most impressive thing about Triple 9 is that it somehow manages to be both predictable and incoherent at the same time. Well, that and the fact that it manages to make half a dozen good actors look really lost.
  95. The Gambler
    The one bit of good news is that the first Gambler is currently streaming on Netflix. Do yourself a favor and watch that one instead.
  96. 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.
  97. Scouts Guide to the Zombie Apocalypse
    It doubles down on gross-out sight gags that 13-year-old boys should find hilarious, if no one else.
  98. Aquaman
    Wan, a director who’s proven himself to be a can’t-miss ace regardless of genre (from the horror formulas of The Conjuring and Insidious to the big-budget tentpole mayhem of Furious 7) seems to finally be out of his depth. He’s conjured an intriguing world, but populated that world with dramatic cotton candy and silly characters, including a hero who’s unsure if he wants to make us laugh or feel — and winds up doing neither. Pass the Dramamine.
  99. 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.
  100. Free the Nipple
    Sound titillating? It's not.
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