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. Bad Company
    Joel Schumacher directs with far less fetishism than he might have, while producer Jerry Bruckheimer kicks up only a fraction of the bull dust usually visible in his projects.
  2. The Crew
    Each man's shtick swells into a frenzy of overacting.
  3. Love Don't Cost a Thing
    You realize you're watching a snuff film, where the victim isn't just teen innocence but teen romance.
  4. I Now Pronounce You Chuck & Larry
    Myself, I felt victimized by the stereotype shtick of reliably grating Rob Schneider as a Canadian-Japanese wedding-chapel minister from SNL castoff hell. But maybe that's just because this movie encourages sensitivity by hitting everyone over the head with its humor hammer.
  5. The United States of Leland
    The United States of Leland is tedious yet infuriating, since its characters, all of whom seem to have emerged from a screenwriter's manual, are like exhibits in a thesis meant to indict the middle class for the crime of its collective dysfunction.
  6. 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."
  7. Night of the Lepus
    Some may call Night of the Lepus plain ridiculous, but I say any movie that features mutant bunnies being shot, blowtorched, and electrocuted makes for a hopping good time.
  8. The Other Woman
    Opportunities for bad behavior abound in Waldman's novel - the author's prerogative. Roos, though, hasn't cracked the puzzle of how to explore that behavior on screen in such a way that the characters behave badly in interesting, rather than arbitrary, ways.
  9. 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.
  10. All the King's Men
    Writer-director Steven Zaillian's version stultifies, especially when compared with Robert Rossen's fiery 1949 Oscar winner. How could such dullness defeat the retelling, when Willie Stark is one of the most vivid characters in 20th-century American popular culture?
  11. The Beverly Hillbillies
    The plot, which features Lea Thompson as a gold digger scheming to marry Jed, is like something you’d catch on the USA Network at 4 a.m. But enough of beating a dead possum. After sitting through The Beverly Hillbillies, I now realize that the best tribute anyone can make to the pop detritus of our childhood is to let it rest in peace.
  12. Fist Fight
    The jokes are downright sophomoric… and sparse.
  13. Haven
    Terminally muddled crime drama.
  14. Heist
    The heist in Heist is pretty pedestrian, and the film turns into Die Hard-on-a-bus with a couple of so-so twists and serviceable spasms of action. If that’s what you’re looking for, rent Speed instead.
  15. Mercury Rising
    The nuttiest thing about Mercury Rising is that when Alec Baldwin, as the silky-voiced evil defense honcho, explains that he took his cutthroat actions to protect the lives of American undercover agents, he actually sounds quite reasonable. You can just about feel the imbecility rising.
  16. Analyze That
    It's not just that Tony Soprano is richer, darker, cooler, and scarier. The dude gets more laughs.
  17. Sex: The Annabel Chong Story
    Does all it can not to dehumanize Chong.
  18. A Life Less Ordinary
    The real problem is the movie itself. The plot, with its interlocking contrivances, is like a machine that keeps trapping the actors in its gears. Since they aren't allowed to relate to each other on a simple human level, the spangly back-and-forth chemistry on which a romantic comedy depends is nowhere in sight.
    • 37 Metascore
    • 33 Critic Score
    Fun Size
    This movie has no courage and little brains, and is salvaged, if at all, only by its heart. There remains a huge market for a great Halloween teen comedy, but Fun Size is the disappointing apple that your crazy-haired neighbor gives you instead of candy.
  20. Garfield: A Tail of Two Kitties
    In the ''flesh,'' Garfield himself (voiced by Bill Murray) is once again strikingly unlikable, a bloated, bingeing fascist.
  21. The Kid & I
    Wayne's World's Penelope Spheeris directs and also plays herself, in a movie with a message as self-congratulatory as it is meta: All problems are surmountable when selfless Hollywooders work extra, extra hard, pulling together ''for the kid.''
  22. Jessabelle
    While this Blumhouse production may be a less ruthlessly efficient scream machine than, say, its corporate sibling "Ouija," it is much more atmospheric and benefits from a winning central performance from Snook.
  23. Shutter
    Seems like a technological regression.
  24. Love Ranch
    Taylor Hackford, fails to squeeze the tiniest bit of juice, sexy or comic or otherwise, out of the chintzy-libertine locale.
  25. Honey
    Despite some sizzle with love interest Mekhi Phifer, the alluring Alba ends up a desexualized mouthpiece.
  26. Battle: Los Angeles
    Except for the relentless, jittery way that the film has been photographed, there's nothing of interest going on in it. It's all fractious guerrilla-newsreel "style" masquerading a void.
  27. Red Notice
    For all the outsize fight scenes and casual profanity though, the whole thing is oddly bloodless. (Even a rampaging bull hardly leaves a bruise.) And so Red Notice goes: blithely skimming through its slapstick fantasy, and laying bejeweled eggs wherever it lands.
  28. Cold Creek Manor
    The journey, however, is a hollow one, since Quaid and Stone, for all their efforts, never really do seem married. Perhaps that's because Stone, with her dry-ice charisma, does everything that an actress should except connect to whomever she happens to be facing on screen.
  29. Suspect Zero
    The truth is, the freakiness kinda turns the director on, and he nearly strangles Suspect Zero with love.
  30. The Double
    The twist in The Double slack mystery-thriller is revealed with a shrug about a third of the way in. After that, it's all about Gere looking grim, and Grace looking stricken as he learns what we already know.
  31. 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.
  32. The Country Bears
    It's sort of an ursine ''The Last Waltz,'' with more costumes and no direction from Martin Scorsese.
  33. True Memoirs of an International Assassin
    True Memoirs is harmless, disposable junk food that has just enough laughs to make you feel like you didn’t get scammed.
  34. The Island of Dr. Moreau
    He’s become such an obvious parody of himself that Frankenheimer has permitted Kilmer to do a wicked mid-movie impersonation of Brando’s character; it’s funny, but it also gives The Island of Dr. Moreau an extra layer of camp it certainly didn’t need.
  35. The Story of Us
    Pungent, funny, and surprisingly forceful.
  36. Crush
    For women who smoke and drink like fiends, the trio of pre-owned babes in this weirdly rotten femme-porn romance have awfully good, unwrinkled complexions.
  37. You Got Served
    The story is so bored with itself, it collapses -- but the diverse troupe of dance talents at least makes it an eclectic slide.
    • 37 Metascore
    • 25 Critic Score
    Cutthroat Island
    Who thought letting Harlin steer into Captain Blood territory was a sage idea? To a piece that’s intended as a comic, tongue-in-cheek romp, he brings the same brutal, slo-mo pyrotechnics that lit up both his hits (Die Hard 2, Cliffhanger) and his biggest previous miss (The Adventures of Ford Fairlane). Somewhere, Errol Flynn is wincing.
  39. Speed Racer
    Young boys are the only suitable audience for Speed Racer, the elaborate live-action adaptation written and directed by "Matrix" creators Larry and Andy Wachowski. And even they might feel an urge to squirm.
  40. 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.
  41. Seven Pounds
    An unintentionally ludicrous drama of repentance.
    • 36 Metascore
    • 50 Critic Score
    Airport '77
    Silly as it is (c’mon, helium balloons?), Airport ’77 is the most suspenseful of the series, with death looming over a planeload of Oscar winners, each trying to out-ham the others before their oxygen runs out.
  43. Three to Tango
    I didn't think Matthew Perry could find a romantic comedy more inert or inane than the 1997 fiasco ''Fools Rush In.''
  44. The Adventures of Rocky & Bullwinkle
    The problem with the movie isn't that it sells out Rocky and Bullwinkle -- it's that it can't keep up with them.
  45. Poolhall Junkies
    Plays out like a variation on an old design dictum: If you can't make it good, make it big.
  46. Steal This Movie
    Scrappy and rambling and overly earnest.
  47. Little Black Book
    The big climax isn't climactic, just hysterical and incoherent. Murphy, with her bug-eyed, love-me mugging, is simply too slight and gawky to play the Everygirl.
  48. He's All That
    It might be just as well that Padgett is not given a real emotional arc, nor anything resembling an internal life. Even when little is asked of her, Rae's acting is not up to the challenge.
  49. Rebound
    The whole thing feels like a half-day of community service, which Lawrence walks through good-naturedly.
  50. After.Life
    Requires Neeson to stare coldly and talk to corpses, but Ricci has the greater dramatic challenge: She has to operate, unfazed, in close-up nakedness much of the time.
  51. Color of Night
    A deliriously brain-dead erotic thriller...The patients (played by, among others, Lesley Ann Warren and Brad Dourif) are all nutjob cliches.
    • 36 Metascore
    • 58 Critic Score
    Tooth Fairy
    British comic Stephen Merchant (Extras), exudes an easier charm as a goofy fairyland caseworker who harbors big dreams of his own.
  53. Æon Flux
    Theron is an arresting image, but, like everything else in Aeon Flux, she's stranded in a trashy and derivative glum zone of fashion-runway fascism.
  54. Arthur
    The new Arthur is a feathery screwball satire, competent on its own terms, yet as the movie went on I found it increasingly hard to separate the character's self-indulgence from that of the actor playing him.
  55. Against the Ropes
    For all I know, Ryan's performance could be a dead-on Kallen impression. But what she appears to be doing is an impression of Johnny Depp doing an impression of Keith Richards doing an impression of Liz Taylor.
  56. Bird on a Wire
    Bird on a Wire is far from inept-every one of those car chases is masterfully staged. Still, for most of two hours you’re pummeled with formula; it would be hard to name another movie at once so proficient and so dull. When a director as talented as Badham reaches this state of empty craftsmanship, who can say whether he’s working out of boredom or cynicism? At this point, there may be very little difference.
  57. Biker Boyz
    A blatant re-spin of ''The Fast and the Furious'' that also happens to be a far better movie.
  58. Abandon
    Sometimes, typecasting works: Holmes and Bratt settle comfortably into their roles, and the movie proves a competently made, mildly diverting collegiate thriller -- at least until its all-too-predictable ''twist'' ending.
  59. Inspector Gadget
    The image of this kitchen-magician dream robot comes at us in little jolts and spasms that have the zappy, self-contained rhythm of a fast-food tie-in commercial.
  60. Returner
    With his tousled mane and wispy facial hair, Asian pop star/ Prada model Kaneshiro suggests a Japanese Johnny Depp, but even his charisma can't carry Returner through its interminable longueurs. Blame it on Yamazaki.
  61. Jeepers Creepers II
    Writer-director Victor Salva squanders all of his original movie's not-entirely-awfulness and bumbles into the realm of unintentional comedy.
  62. A Man Apart
    Sour, sadistic, and stale from sitting on the shelf since the pre-''XXX'' era -- an era I'm starting to miss.
    • 36 Metascore
    • 67 Critic Score
    War
    There are few cinematic crimes more heinous than making a boring action movie. Sadly, that's what the first hour of Triads-versus-Yakuza thriller War is.
  64. The Eye
    It's as if, on the umpteenth Asian-horror Xerox, the ink has run dry.
  65. Under the Cherry Moon
    It’s really Prince who’s the ingenue here. He engages in much mock-effeminate vamping, scampers around the French Riviera in outfits that would have humbled Liberace, and grants himself the most melodramatic death scene since Camille.
  66. Employee of the Month
    The results in Employee of the Month are toothless.
  67. Sherlock Gnomes
    Sherlock Gnomes doesn’t quite have the originality and spark to make it a pop-culture phenomenon. Yet it’s still an enjoyable family adventure with a solid message.
    • 36 Metascore
    • 25 Critic Score
    Phat Girlz
    Jazmin's so fat that the movie reduces her to a single discernible characteristic, which is a telltale mark of many a wholly awful comedy.
  69. The Canyons
    Schrader tries to find the human side of it all, and he scores with Lohan, who taps a vulnerability beneath her dissolution to remind you why she's still a movie star.
  70. Space Jam: A New Legacy
    Algorithmically speaking, it's no slam dunk.
  71. Big Fat Liar
    How appealing is Muniz, taking a break from ''Malcolm in the Middle,'' a day job he should by no means let go of?
  72. Hard Rain
    The film suggests Titanic in a giant wading pool.
  73. Amy's Orgasm
    The orgasm, it turns out, is low on the list of Amy's issues. The title is faked.
    • 36 Metascore
    • 58 Critic Score
    Thunderbirds
    Without fail its upbeat cheesy wholesomeness is always good for a smile.
  75. Victor Frankenstein
    Only Radcliffe escapes unscathed, lending Igor a convincing psychology despite the ham-fistedness of the material. But he’s not enough of a reason to resurrect this story again.
    • 36 Metascore
    • 16 Critic Score
    Resident Evil: Apocalypse
    In Resident Evil: Apocalypse, the undead are back to stumbling in the dark, sometimes even in blurry slo-mo, making the many packs of them about as terrifying as the mobs waiting for Matt and Katie outside the "Today" studio.
  77. Criminal
    Criminal’s story moves like a fat cow. Costner and Oldman’s characters are sluggishly chasing after — irony alert! — a big black duffel back full of $100 bills, hidden behind a stack of George Orwell books.
  78. The Wicker Man
    Despite its logy, red-herring structure, the film has enough enigma and weirdness that it gradually stirs to life.
  79. The Jackal
    A trashy, frenetic remake of Fred Zinnemann's 1973 The Day of the Jackal, The Jackal is mired in blood, cheap shocks, and a random network of improbability.
  80. Diary of a Mad Black Woman
    A bad movie so over-the-top that at moments it's almost good - or, at least, more arresting than it has any right to be.
    • 36 Metascore
    • 25 Critic Score
    Are We Done Yet?
    Atrocious sequel.
  82. Space Chimps
    While candy-colored graphics should dazzle kids, Space Chimps has little draw for audiences spoiled by the Pixar-given knowledge that CGI can entertain -- and not just stupefy -- moviegoers of any age.
  83. The Son of No One
    The more that secret comes out, the more incoherent (and ludicrous) the film gets.
  84. Graffiti Bridge
    Graffiti Bridge is a sad fiasco — and except for Shake! the music (at least to my ears) is Prince at his most joyless, a collection of glorified rhythm tracks. For the first time, the revolutionary funkster seems to be preaching to a world that has left him behind.
    • 36 Metascore
    • 50 Critic Score
    Underworld: Evolution
    I especially like how, when Beckinsale's half-wolf, half-vampire friend Scott Speedman moves in for a kiss, you can hear the black leather of her dominatrix getup crinkle and crackle on the soundtrack like an old saddle. Sizzlin'!
  86. The Art of Getting By
    Old Holden would call the whole movie phony, and I agree, if you want to know the truth.
  87. Captive
    The thin story has been stretched like Silly Putty to feature-film length and the result is utterly see-through in its sledgehammer moralizing.
  88. Sex Tape
    It's clumsy and wacky and intermittently amusing, and Rob Lowe looks like he's having a great time playing Real-Life Ned Flanders With a Deeply Weird Side once again.
  89. Gone
    Which stinks worse? The absurdly large pile of red herrings Gone amasses? Or the film's sub-Scooby Doo conclusion?
  90. Body Shots
    A distasteful zeitgeist cocktail tracking the booze-fueled sexcapades of eight repellent L.A. singles.
  91. Pure Luck
    Just about unwatchable — a numbingly repetitive farce in which the cursed Short trips, walks into walls, trips, spills an entire saltshaker onto his breakfast, trips, sets people on fire, trips…
  92. 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.
  93. Parental Guidance
    In the occasionally funny but mostly facile '80s-style culture-clash comedy Parental Guidance, Billy Crystal, who now resembles a very cute puffer fish, plays Artie Decker.
  94. 10th & Wolf
    At least Ribisi's fake-cojones histrionics are fun. The rest of this "Donnie Brasco" knockoff, with James Marsden as a Gulf War veteran who goes undercover, is a turgid, ketchup-spattered dud.
  95. Righteous Kill
    It's not much fun to see these two reduced to "Mad TV" parodies of themselves.
  96. Fly Me to the Moon 3D
    Brisk and sweet, even if the script veers toward fussy and lame.
  97. Cradle 2 the Grave
    By the time Li enters the obligatory ''ring of fire'' to face his final opponent, you realize just how forthrightly rote and businesslike ''Cradle'' is. And you don't mind. Because business, it turns out, is good.
  98. 8 ½ Women
    Keeps teasing you with intimations of the libidinous animal within.
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