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. Zack Snyder's Justice League
    Yet even compared to the glacial Marvel-Netflix Dramas, Zack Snyder's Justice League is a chore. At the end of the rainbow, viewers are left with the promise that the actual cool things will happen next time. This cut is no worse than the theatrical edition, but it sure is longer. "So begins the end," Steppenwolf declares. When he says that, there is one hour left.
    • 31 Metascore
    • 42 Critic Score
    Getting Even with Dad
    Culkin and Danson develop some comic chemistry that’s disarming only if you haven’t tired of both actors’ patented shticks by now.
  3. Alive
    Alive is an unsettling contradiction: a well-intentioned gross-out movie. It may be the first film in history to say that cannibalism is good for you.
  4. The Handmaid's Tale
    The Handmaid’s Tale is watchable, but it’s also paranoid poppycock — just like the book.
    • 33 Metascore
    • 42 Critic Score
    Fatal Instinct
    Too dopey to cut it as a theatrical release, but more knowingly and competently made than most of its straight-to-video analogues, this Carl Reiner-directed pastiche-parody of film noir occupies a lonely corner of video purgatory.
  6. Freejack
    The trouble with low-rent science-fiction movies is that beneath all the futuristic gimcrackery — the video phones and laser guns and hyperspace leaps, the obligatory time-travel setups — you realize, at some point, that you’re watching a routine urban chase thriller: Lethal Weapon 2000. For most of its running time, Freejack bounces and sputters along atop the usual action- movie chassis.
  7. Wrath of Man
    Wrath is just another loose bag of lizard-brain thrills and wood-block dialogue: too ugly to be camp, too grimly familiar to feel new.
    • 66 Metascore
    • 42 Reviewed by
      Ty Burr
    White Hunter Black Heart
    White Hunter, Black Heart wants to show us a specific heart of darkness — a man who, by striving to kill one of nature’s grandest creatures, hoped to annihilate part of himself — but the theme gets lost in shades of gray.
  9. White Sands
    White Sands, on the other hand, is a dud, the sort of movie that swathes its emptiness in layers of chic, swirling ”visuals.”
    • 31 Metascore
    • 42 Critic Score
    Repossessed
    For a movie seemingly written and directed by sophomore-year film students, Repossessed offers a number of laughs. Five. But it mainly demonstrates that Nielsen is at his best when leaving production duties to professionals.
  11. HouseSitter
    Every time Housesitter seems about to turn wild, it gets waterlogged with heart.
  12. Shotgun Wedding
    This Wedding clearly wasn't meant to be a masterpiece, but even as mid-winter fluff it feels like a rush job: a marriage made for lazy-Sunday streaming at best, 'til death — or more likely, a better script — do you part.
  13. Where the Crawdads Sing
    Director Olivia Newman (First Match) bathes the story in so many broad, creaky tropes and odd tonal shifts that nothing ever feels real for a moment.
  14. Sugar Hill
    Sugar Hill wants to tear up our insides, but I’m afraid the movie leaves us hooting with disbelief instead.
  15. 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.
    • 62 Metascore
    • 42 Critic Score
    Love at First Bite
    Every now and then things get so convoluted that some sort of humor is achieved, but waiting through setup, setup, explanation of hoary joke, and delivery of hoary joke gets old fast, especially when the jokes are racist.
  17. Sharp Stick
    The movie's final frame asks us to believe that Sarah Jo has finally, ecstatically found herself; by then, whatever reason we have for watching is already long lost.
  18. The Bubble
    Both directors have made much better movies; go watch one of those instead.
  19. She's the One
    In the end, we never know why anyone is the one for anyone. And this qualifies as a filmmaking problem, at least for us here on Earth.
    • 59 Metascore
    • 42 Critic Score
    Battle Beyond the Stars
    It’s hard not to admire a movie featuring a spaceship with D-cups and a title that has the nerve to one-up Star Wars — but if Lucas’ film is PlayStation 2, this one is hopscotch.
    • 33 Metascore
    • 42 Critic Score
    If Lucy Fell
    Even if these characters are obliged to waste their time getting to that point, no one else is.
    • 72 Metascore
    • 42 Reviewed by
      Ty Burr
    The Adventures of Milo and Otis
    Milo and Otis is an okay babysitter for the very, very young, but for anyone who truly loves animals it seems pretty fishy.
  23. Mulholland Falls
    This is Chinatown for chowderheads.
  24. Raymond & Ray
    The whole thing is so airless and hollowly constructed, so full of mimed but unfelt feelings, that it's a relief to put this body in the ground and forever hold your peace.
  25. Your Place or Mine
    What should be breezy, featherweight fun — Reese! Ashton! A screenplay by the lady who wrote The Devil Wears Prada and 27 Dresses! — instead turns out to be oddly hollow, a meandering and synthetic approximation of classic rom-com canon with too little romance or comedy in its strained, familiar formula.
  26. Deadpool & Wolverine
    The movie is two hours of cheap jokes, culminating in the world’s biggest Family Guy episode. It tries so hard to be clever, it just ends up being cringe.
    • 73 Metascore
    • 42 Reviewed by
      Ty Burr
    Cavalcade
    It’s rife with fey, unintentional camp like the scene in which a newlywed couple pledge eternal love on the deck of an ocean liner — only to move away and reveal a life preserver labeled Titanic. Cavalcade really won its Oscar because of Hollywood’s raging Anglophilia — the insecure sense that if a character says, ”Let’s all have a cup of tea!” the movie must be art.
  28. Ferrari
    The film does not valorize Ferrari, but it doesn’t complicate him either. And while its racing sequences are exhilarating, it should have spent more time looking under the hood.
    • 10 Metascore
    • 42 Critic Score
    Car 54, Where Are You?
    Not even the presence of the irrepressible David Johansen (here playing the Gunther Toody role originated by the ineffable Joe E. Ross on the ’60s television show) and a paddy wagon full of engaging Noo Yawk types can pull Car 54, Where Are You?‘s woebegone comedy out of the vulgar ditch that its screenwriters drove it into.
  30. The Cut
    Despite a trio of knockout performances, The Cut is a lackluster boxing drama.
    • 51 Metascore
    • 42 Critic Score
    The Farmer's Wife
    It's technically competent but narratively sparse, with no humor or sense of urgency. Every scene feels as though it's 30 minutes long, which doesn't help its already lengthy runtime for a silent feature, with the latest restoration clocking in at almost two hours.
    • 40 Metascore
    • 42 Critic Score
    Juno and the Paycock
    Hitchcock deserves credit for putting his personal artistic flourishes aside to create a straightforward adaptation, undistracted by technical wizardry. Unfortunately, the film is essentially a vacuum with no sense of intrigue or urgency — there's practically no character development, thematic weight, artistic innovation, emotional resonance, or narrative thrust.
    • 51 Metascore
    • 42 Critic Score
    Number 17
    The story is practically impossible to follow, the direction is imprecise, and the whole thing is visually dizzying.
    • 52 Metascore
    • 42 Critic Score
    Jamaica Inn
    The film looks decent, though not as striking as any of Hitchcock's prior sound films.
    • 63 Metascore
    • 42 Critic Score
    Mr. & Mrs. Smith
    For a rom-com, it's neither funny nor particularly romantic despite the actors' best efforts.
  36. Prelude to a Kiss
    Prelude to a Kiss is squishy yet blah. It teaches the characters a lesson they don’t need to learn.
  37. When in Rome
    Sounds mildly fun, be forwarned: When in Rome doesn't even offer that.
  38. Synecdoche, New York
    I gave up making heads or tails of Synecdoche, New York, but I did get one message: The compulsion to stand outside of one's life and observe it to THIS degree isn't the mechanism of art -- it's the structure of psychosis.
  39. Orphan
    Orphan isn't scary -- it's garish and plodding.
  40. Cirque du Freak: The Vampire's Assistant
    Subplots go nowhere, and characters -- many played by well-known actors -- barely get screen time. Willem Dafoe, Salma Hayek, and Jane Krakowski are among those who are there and gone.
  41. Knowing
    If you want to know how inept the movie is...well, it's so inept that you may wish you were watching an M. Night Shyamalan version of the very same premise.
  42. Happy Gilmore
    Adam Sandler stars in a one-joke Caddyshack for the blitzed and jaded.
  43. Babylon A.D.
    When martial arts star Michelle Yeoh shows up as a pious, butt-kicking nun, you have to wonder if Kassovitz isn't accidentally cribbing from Mel Brooks, too.
  44. 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.
  45. Elektra
    Just as all regular models can't be supermodels, so all action chicks can't be superheroines. Elektra Natchios turns out to be walled off rather than mysteriously alluring; blank rather than deep.
  46. Boogeyman
    This is strictly substandard stuff, with imitative creepy noises, vertiginous camera angles, and long pauses.
  47. The Pacifier
    A yawn-by-numbers romper-room dud.
  48. King's Ransom
    Generic hip-hop soundtrack? Check. Aerial stock footage of milieu? Check. Hardy-har homophobia and misogyny? Check. Emasculated sub-Gump white dude played by Jay Mohr? Double check.
  49. The Great Raid
    The main problem? Raid lacks a center. It's an exhausted sprawl with multiple story foci, none of them terribly compelling.
  50. Dirty Deeds
    Too mild to be dirty, yet too dirty to be charming, and altogether too generic to be much of anything.
  51. The Man
    Most of The Man is as awful as last year's debacle, "Taxi," yet Levy, stuck in a no-brainer variation on Billy Crystal's predicament in "Analyze This," shows just enough noodgy passive-aggression to suggest what the movie might have been were it not shackled to buddy-action clichés.
  52. An Unfinished Life
    An Unfinished Life is inert, kaput -- a middlebrow mush of platitudes rather than an okay corral of distinct characters with heartbeats. It's awful not in an exciting, uncontrolled way but in an overly controlled, narcotized way.
    • 34 Metascore
    • 33 Critic Score
    Cheaper by the Dozen 2
    What you have is less a sequel to a not-so-bad remake than yet another remake, this one of that not-so-great 1988 John Candy comedy "The Great Outdoors."
  54. Rumor Has It...
    A mess -- all high concept, stranded performances, and no laughs.
  55. A Good Woman
    British director Mike Barker and magpie New York screenwriter Howard Himelstein, have taken "Lady Windermere's Fan" - Wilde's first big stage success, written in 1892 - and pulped it senseless in the name of puttin' on the charm.
    • 24 Metascore
    • 33 Critic Score
    London
    At least London nails the inanity of drug-speak - the bathroom chat quickly devolves from God and ''time horizons'' to coprophilia and a truly dumb confessional tirade by Statham - although perhaps this achievement is unintentional.
  57. Battle in Heaven
    A notorious opinion divider last year at Cannes, Battle in Heaven is less about heaven or battle, or hell on earth, or the soul of Mexico, and all too much about gawking. And so, for all the ''shock'' of the movie's clinical carnality, this battle is lost.
  58. Running Scared
    Running is a fevered smashup, as if Hollywood dug up Sam Peckinpah's corpse and forced it to adapt "Grand Theft Auto: Vice City" for the screen.
  59. The Heart Is Deceitful Above All Things
    Asia Argento is not what I would call a good actress, but she's a prime specimen of train-wreck sexuality: a debauched Eurotrash starlet who oozes punk cred more than she does talent. It's not too hard to see why she wanted to write, direct, and star in The Heart Is Deceitful Above All Things.
  60. Take the Lead
    Antonio Banderas is a charming and talented man, but in Take the Lead he lays on the old-world panache so thick - the accent, the flowery courtliness, the romance of romance - that he comes off like Dracula's metrosexual cousin.
  61. Silent Hill
    A few of the images are startling, but as Radha Mitchell (a good actress) wanders through a ghost town, searching for her lost daughter as though she was touring an abandoned movie set, Silent Hill is mostly paralyzing in its vagueness.
  62. Art School Confidential
    Insistently sullen, nihilistic, and successful to the point of smugness at transmitting buzzkill, Art School Confidential is the second collaboration between art-house cartoonist Daniel Clowes and director Terry Zwigoff.
  63. Just My Luck
    Even in her dullest vehicle, Lindsay Lohan exudes an unfakable shine.
    • 45 Metascore
    • 33 Critic Score
    The Fast and the Furious: Tokyo Drift
    Gets lost in translation.
  65. Nacho Libre
    You can see what the film was going for, but the jokes just sit there; you chuckle a few times, mostly out of lame hope, but you never bust a gut, never really get what you came for.
  66. Pirates of the Caribbean: Dead Man's Chest
    Yes indeed, Pirates 2.0 is a theme ride, if by ride you mean a hellish contraption into which a ticket holder is strapped, overstimulated but unsatisfied, and unable to disengage until the operator releases the restraining harness.
  67. The Trouble with Men and Women
    Some movies make love look schematic. The Trouble With Men + Women makes those films look stunningly insightful.
  68. 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.
  69. Looking for Kitty
    Burns pads around Gotham, yammering yesterday's op-eds about Disneyfication and ''classic New York holdouts.'' He somehow manages to sound fogyish AND immature.
  70. Haven
    Terminally muddled crime drama.
  71. Employee of the Month
    The results in Employee of the Month are toothless.
  72. Copying Beethoven
    Holland's empurpled bio-fantasy is hooey with an anachronistic feminist slant from start to finish.
  73. 10 Items or Less
    I don't know if it's ickier to assume that writer-director Brad Silberling (Moonlight Mile) thinks the culture-clash jokes he pushes in 10 Items or Less are charming because they're earnest, or because they're tongue-in-cheek. Either way, this sale is void.
  74. Because I Said So
    This slapdash, charmless, baldly boomer-chasing romantic comedy, directed by Michael Lehmann (Heathers) from a clunky, orgasm-obsessed script by Karen Leigh Hopkins and Jessie Nelson, is the lazy studio's answer to a call for more age-appropriate entertainment for "More" magazine readers.
  75. The Reaping
    No belief on earth can rescue Swank from a film that's a chain of disaster chintz masquerading as a sermon.
  76. Lucky You
    Really, all this movie is about is the joy of checks, calls, folds, rivers, and the acquired thrill of knowing what those words mean.
  77. Resurrecting the Champ
    The gooey sanctity of the bond between fathers and sons all but nullify Jackson's zesty performance.
  78. 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.
  79. 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.
  80. Redacted
    For all of De Palma's studious multimedia trickery -- a valid, even inspired idea -- Redacted is so naive it's an embarrassment.
  81. The Hottie & the Nottie
    The Farrelly brothers could burp out a movie funnier than The Hottie & the Nottie, a farce of corrupt stereotypes that's never more grotesque than when it pretends to be more than skin-deep.
  82. 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.
  83. The Babysitters
    The premise is out of '70s porn, and so is the overbroad satire and almost total lack of conviction.
  84. The Love Guru
    Myers is trying for another of his endearingly hormonal imp-egomaniacs, but hidden behind a wavy beard, a wax-curled mustache, and an astoundingly ugly squashed fake nose, he's a little too grotesque.
  85. Body of Lies
    Most of this just seems, you know, so three years ago, so "Bourne" again.
    • 32 Metascore
    • 33 Critic Score
    Repo! The Genetic Opera
    If steampunk bloodbaths aren't for you, it's a long wait for the fat lady to sing.
  87. The Merry Gentleman
    This Debbie Downer of a drama is a bitter slog.
  88. The Burning Plain
    The scenery (prettily captured by There Will Be Blood cinematographer Robert Elswit) is littered with heavy symbolism (fire! rain! dead birds!); the performances are merely heavy.
  89. Remember Me
    As a shameless contraption of ridiculously sad things befalling attractive people, the engorged romantic tragedy Remember Me stands tall between those towering monuments to teen-oriented cinematic misery, Love Story and Twilight.
  90. All the Pretty Horses
    McCarthy's rawhide has become movie Naugahyde, a substance unknown in literature or in nature.
  91. Double Jeopardy
    This toothless thriller...feels like a strained reworking of ''The Fugitive.''
  92. Company Man
    If you've always longed to see a Cold War satire done in the hit 'em over the head frantic camp mode of ''Love, American Style,'' then Company Man is the movie for you.
  93. Beautiful
    Not one female character escapes mockery or patronizing.
  94. Big Momma's House
    Lawrence is so ON that he appears to be gunning for clockwork bursts of audience approval.
  95. Passion of Mind
    Nobody's got a clue. Enquiring minds don't even want to know.
  96. The Wash
    This rusty jalopy of a movie, which is so ramshackle it's nearly enough to make you forget how tossed-together the 1976 ''Car Wash'' was.
  97. Greenfingers
    If your allergy to comedies bred from British style mugging crossed with Disney style prancing has, like mine, flared up in recent years, this hybrid from writer director Joel Hershman (''Hold Me, Thrill Me, Kiss Me'') will make you wheeze.
  98. Lost Souls
    Silly, undone by lack of faith in its own subject.
  99. The Banger Sisters
    Really, the sole favor Dolman does the plucky Hawn is to light her rear end so that its continued gloriousness can be appreciated.
  100. The Body
    This cinematic stiff should have stayed buried.
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