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. Assassin's Creed
    Here’s a film that turns Michael Fassbender into a puppet, and oh, those strings hold him down.
  2. Belly
    The bad acting — make that nonacting — of rappers DMX and Nas merges, all too well, with the shallow dehumanized vision of director Hype Williams.
  3. Conan the Barbarian
    There's something and nothing for everyone in Conan the Barbarian 3D.
  4. Special Correspondents
    What Gervais may have previously turned into a pointed satire of the news media instead becomes a flimsy farce that’s surprisingly low on laughs.
  5. Lady in the Water
    Shyamalan's most alienating and self-absorbed project to date.
  6. That Awkward Moment
    Sit tight through the end credits and you'll be treated to a few off-the-cuff outtakes of the guys doing things much funnier than anything in the film itself.
  7. Death Sentence
    The morality of revenge is barely at issue in a movie that pushes the plausibility of revenge right over a cliff.
  8. Buddy Boy
    Be wary of any movie in which the hero is monosyllabic and a stutterer at the same time.
  9. Who Is Cletis Tout?
    Allen is no more convincing than the writer-director, Chris Ver Wiel, who strings together faux-QT, faux-Elmore Leonard clichés like so many necklace beads and pretends that's the same thing as making a movie.
    • 36 Metascore
    • 50 Critic Score
    Captain Corelli's Mandolin
    A movie that reduces history, as well as eros, to a postcard.
  11. Party Monster
    As stagy and awkward as some of the Warhol/Morrissey films of the early '70s.
  12. Runner Runner
    Even the best player can only go so far with a bum hand.
    • 36 Metascore
    • 25 Critic Score
    Harley Davidson and the Marlboro Man
    All the virile violence in this buddy picture is lackluster — we’ve seen these fights, chases, and shoot-outs before.
  14. The Perfect Guy
    For all its third act nuttiness, The Perfect Guy really should have gone way crazier.
  15. Red Lights
    As a sinister ESP showman, Robert De Niro is corny and fun.
  16. Fast Food Fast Women
    Kollek is a fringe auteur who makes independent films the old fashioned way: no budget, static camera, a script that telegraphs its tiny, paste gem ironies.
  17. Dickie Roberts: Former Child Star
    The number of levels on which these pros trade on their diminished reputations makes the movie an inside joke rather than a funny one. If Spade thinks otherwise, he's nucking futs.
  18. Lucy in the Sky
    Lucy in the Sky’s attempt to sync cosmological visions with a believable human drama never quite works.
  19. 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.
  20. Turistas
    The movie, with the exception of that lone squirmy surgery scene, is "Hostel" without sadism, thrills, or funky severed-limb F/X. It quickly turns into a very dull escape thriller.
  21. Action Point
    Even the stunts – the whole raison d’etre of a movie like this – seem tame and staged. It cheaps out on the good stuff. And for a movie with so little going for it besides the threat of danger, there’s no excuse for Action Point to play it this safe.
  22. Alpha and Omega
    Underwhelming in the style of most off-brand CG, Alpha and Omega is livened by pretty Rocky Mountain backdrops and leadened by stock characters and the wolves' weirdly prissy behavior.
  23. Serious Moonlight
    There's a lot of yelling, cracking wise, and cooing in this creepy rom-com.
  24. College Road Trip
    At its best when it drops any pretense of plot for sheer goof (as when a Japanese sightseer belts ''Sister Christian'' on a karaoke tour bus), and at its worst when Lawrence manages to out-ham even his porky four-legged costar.
  25. Stardom
    It may be the first movie that mirrors, in its very syntax, the ''snap crackle and pop'' narcotic superficiality of the E! channel. I mean that as a compliment.
    • 36 Metascore
    • 25 Critic Score
    The Thirteenth Floor
    So what is real? Only the boredom of the audience as the film collapses from one meaningless false-bottom environment to the next.
  27. The Reaping
    No belief on earth can rescue Swank from a film that's a chain of disaster chintz masquerading as a sermon.
  28. 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."
  29. I Am Number Four
    Witless, insultingly derivative, muddy-looking, and edited in the hammering epileptic style that marks so many films produced, as this one is, by Michael Bay.
  30. What Happens in Vegas
    Kutcher, who gives his most energized performance to date, and Diaz, darting between the caustic and shrill, look as if they're warming up to groovy hate sex, not love, which may be why the film goes flat the moment it turns friendly.
  31. The Pink Panther 2
    Provides genial chuckles, but it's never excitingly rude.
  32. Striking Distance
    Bruce Willis is at his most morose in this flat, dankly lit, grindingly inept thriller about a serial killer whose victims all turn out to have been acquaintances of Willis’ rumpled, alcoholic cop hero. As his by-the-book partner, Sarah Jessica Parker is the only one in the movie who doesn’t look sleep-deprived.
  33. Something Borrowed
    Soul-sucking romantic comedy.
  34. The Invisible
    Chatwin comes off as prickly and annoyed -- they should have called this "Perturbia."
  35. Ithaca
    In all, Hanks’ casting feels like a missed opportunity—much like the rest of Ithaca.
  36. A Promise
    It’s well made but drearily familiar.
  37. Stolen Summer
    The entertainment gods have cast mixed blessings on Stolen Summer. Let Pete Jones pray.
  38. No Such Thing
    Hartley is trapped between sincerity and mock sincerity, and that all but dooms a filmmaker to slipping through the cracks.
  39. The Next Karate Kid
    Clearly, three sequels haven’t improved Miyagi’s English, but there is something bitchin’ about seeing a babe give a bully a good thwack. Not that girls will go see this or boys will care.
  40. Johnny Mnemonic
    Offhand, I can’t think of an actor who could use a brain implant more. The trouble isn’t that Reeves talks like a surfer dude; it’s that he tries so hard not to talk like a surfer dude.
  41. Saw IV
    He now imparts so many life lessons via his Rube Goldberg thresher devices that he's starting to turn into the Rod Serling of severed body parts. Now that's torture.
  42. Push
    A weightless, style-driven thriller set in a photogenically chaotic Hong Kong.
  43. Addicted to Fame
    The title Addicted to Fame hints that Giancola knows enough to count himself among the hooked. But the crappiness of this documentary about a crappy parody of a crappy B movie suggests that he hasn't kicked the habit.
  44. Kin
    Kin is a movie about a child with an all-powerful firearm that makes him feel important and special and powerful. On a one-to-ten scale of moral fecklessness, this ranks about a thousand.
  45. Blumhouse's Truth or Dare
    Hale and Posey are likable leads and director Jeff Wadlow (Kick-Ass 2) injects proceedings with a propulsiveness which allows you to mostly ignore the odd plot strand which doesn’t really pay off or the general air of preposterousness.
  46. Love's Labour's Lost
    Too many moments of evident labor weigh this clever production down. To quote the playwright: ''Your wit's too hot, it speeds too fast, 'twill tire.''
  47. Universal Soldier
    Viewers primed for a postapocalyptic blowout will be disappointed to learn that Universal Soldier is set in the boring old present day, and that until the climactic clash the film is slow-moving and short on firepower.
  48. The Huntsman: Winter's War
    It’s the movie equivalent of a cake that’s all frosting.
  49. How to Lose Friends & Alienate People
    Best in show is the divine Gillian Anderson as a powerful celebrity publicist, editing the image of her clients in much the same way this adaptation tames Young's much pricklier book.
  50. Resident Evil
    A splattery futuristic zombie thriller, designed as a jolt-a-minute freakout for young audiences who were numbed into submission long ago.
  51. Mute
    The one thing Mute has going for it is Jones’ vividly imaginative sense of world-building. Like Ridley Scott with "Blade Runner," he fills every corner of the screen with something cool to look at.
  52. Teaching Mrs. Tingle
    A derisively vicious show-off satire, a plastic exercise in authority bashing.
  53. My Blue Heaven
    The movie itself, with the exception of a few scenes, doesn't really have the wit it's aiming for, and among Steve Martin vehicles it's middle-drawer, at best. Yet that mood of silly exuberance reigns through most of the picture.
  54. Stealth
    Stealth, a dregs-of-summer knockoff, is too ponderous and inept to serve a comparable function now, yet the film's lack of thrust may be related to an absence of conviction about its own war-is-a-videogame clichés.
  55. Star Wars: The Clone Wars
    George Lucas is turning into the enemy of fun.
  56. Venom
    Venom isn’t quite bad, but it’s not exactly good either. It’s noncommittally mediocre and, as a result, forgettable. It just sort of sits there, beating you numb, unsure of whether it wants to be a comic-book movie or put the whole idea of comic-book movies in its crosshairs.
  57. Dream House
    This suburban gothic is a logy, convoluted mess.
  58. Jumper
    Liman, for all his craft, doesn't have enough FUN with the premise.
  59. Rumor Has It...
    A mess -- all high concept, stranded performances, and no laughs.
  60. Salvation Boulevard
    The comedic slaps are too limp to leave a mark. Director George Ratliff applied a much clearer eye to "Hell House," his chilling 2001 documentary about a real church.
  61. The Perfect Weapon
    During the fight scenes, it sounds as if a hundred watermelons were being clobbered at once. Other than that, it’s business as usual, with the all-American Speakman proving the most generic vigilante this genre has spawned yet.
  62. The Hustle
    There are a few legitimately great throwaway lines, and a few vaguely offensive ones. But the movie feels so fast and cheap that it’s hard not to wonder why they’ve made it at all, other than to jump on a small and so-far underwhelming trend in gender-swapping ‘80s remakes (see also: Ghostbusters, Overboard).
  63. Transformers: Revenge of the Fallen
    The sequence serves no real purpose beyond dazzle for dazzle's sake, but when you're watching it, that's purpose enough.
  64. Two Can Play That Game
    Along comes Two Can Play That Game to demonstrate that antifeminist silliness is color-blind.
  65. Scooby-Doo
    The antics involving ghosts, chases, and burping that divert the small fry don't mix with the jokey, tribute-band dialogue spouting from the Mystery, Inc. gang.
  66. Hide and Seek
    Hide and Seek, despite early signs of higher goals, is a factory-standard box of shocks.
  67. Film Geek
    James Westby's loving and self-aware homage to mouth-breathing boys who worship Wong Kar-Wai and can't talk to girls is the opposite of Tarantino-esque: It's Westby-ish, interspersing settings of biting social oafishness with spasms of film knowledge.
  68. Mrs. Winterbourne
    Lake and Fraser never come close to believability as a romantic couple. There's more chemistry going on in a grain of salt.
  69. Bride of the Wind
    A sodden ''feminist'' vulgarization.
  70. Gone in Sixty Seconds
    Eventually, the senses jam and a mental lube job is in order.
  71. A Walk to Remember
    Just because A Walk to Remember is shrewd enough to activate girlish tear ducts doesn't mean it's good enough for our girls. They're willing to buy tickets; why not honor their wits as well as their wallets?
  72. The Host
    It's really a dramatic sinkhole.
  73. My Mother
    Ma Mère, while less prudish than Catherine Breillat's dour deconstructions of sex, is also less competent. It winds up making incest look absurdly swank.
  74. Halloween II (2009)
    What Halloween II does have, though, is Zombie’s claustrophobic visual style; he half-drowns his actors in shadow, then tracks them through windows and around corners like a focused predator. If only we cared about the prey.
  75. Event Horizon
    Event Horizon could have used a decent script, but the director, Paul Anderson, is a stylist to watch.
  76. Mansome
    The best thing about the movie is that it keeps drawing conclusions in opposite directions.
  77. The Kitchen
    There’s so much talent in The Kitchen, and so much of it wasted; that’s kind of all you can think about for most of writer-director Andrea Berloff’s debut.
  78. Post Grad
    Dismayingly conservative dramedy.
  79. Van Helsing
    Van Helsing, a fusion of eye candy and brain sputter, is a long, kinetic, yet dreary mess.
  80. The Forsaken
    While it's rarely scary, the film is often gory.
  81. Ghosts of Mars
    Borderline-incoherent.
  82. A Rumor of Angels
    Director Peter O'Fallon fires his biggest gun: a blast of Mozart's Ave Verum Corpus, truly heavenly music wasted on a handful of dust.
  83. The Babysitters
    The premise is out of '70s porn, and so is the overbroad satire and almost total lack of conviction.
  84. Identity Thief
    The fault, I think, isn't in our stars but in the script, running up a huge comedy tab the likable players can't pay off.
  85. Man of the House
    Walking the path grooved by such stone-faced confreres as De Niro and Schwarzenegger (and following up on his own more successful self-parody in "Men in Black"), Jones positions himself as a Man in a Stetson.
  86. Morbius
    Swedish-Chilean director Daniel Espinosa (Life) gives it all a dark sheen, and shoots the pair's inevitable confrontations less like traditional comic-book clashes than something from The Matrix.
  87. Revenge
    The trouble with Scott’s movies is that they’re not just star vehicles. They’re about the aesthetics of celebrity, about the narcissism that’s going on offscreen. If Revenge ends up knocking Costner down a peg, it’ll be just what he needs — and deserves.
    • 35 Metascore
    • 42 Reviewed by
      Ty Burr
    Urban Legend
    Proficiently filmed and utterly uninspired.
  89. Dreamcatcher
    The nightmare is that the live guys in this Dreamcatcher lose the battle the minute the mechanical worm turns.
  90. Everly
    With so little backstory and character depth, it’s nothing more than a pointless exercise in brutal, nasty style.
  91. 200 Cigarettes
    A gaggle of hip actors squander their gifts in this unfunny, out-of-control comedy.
  92. The Expendables 3
    So let me just say that this latest rah-rah red-meat installment is the biggest and best surprise of the series. It has its flaws, but it's mostly a big, dumb, gruntingly monosyllabic hoot.
  93. 20 Dates
    Raging ego aside, the penny-ante hucksterism of his I'm-going-on-dates-to-get-famous-making-a-movie-about-dates approach is too cloying and opportunistic to bear.
  94. A Nightmare on Elm Street
    It's not every day that one of our rogues' gallery of iconic psycho killers gets to be played by a creepy and fascinating actor -- in this case, Jackie Earle Haley taking on the role of Freddy Krueger.
  95. 102 Dalmatians
    This sequel adds more insults and injuries that could traumatize little ones. Most frightening of all, the ending leaves the door open for ''103 Dalmatians,'' which would certainly constitute Cruella and unusual punishment.
    • Entertainment Weekly
  96. The Perfect Score
    The movie, which strains to be hip in a faux-1985 beat-the-system way, takes such a light view of cheating that it has the ironic effect of rendering the heist that follows utterly innocuous.
  97. Stateside
    If you were looking for an actress to play a tempestuous, schizophrenic movie-slash-rock star, you might go for Courtney Love or Angelina Jolie, or maybe even Jennifer Connelly. But Rachael Leigh Cook?
  98. Loosies
    A harmless crime caper. It stars Peter Facinelli (Nurse Jackie, the Twilight series), who also wrote the script, shaping the movie to his facile, unlayered charm.
  99. The Last Exorcism Part II
    Unfortunately, no one involved seems to have bent over backwards to make the movie either original or even all that scary.
  100. What's Your Number?
    Under the direction of Entourage's Mark Mylod, the movie not only makes cheap sex jokes but looks skanky, too. Lighting, camerawork, and editing are all a slapdash mess, one that further hinders the actors trying their best to get through this failed hookup of a comedy.
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