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. Lucky Break
    Every porridgy inmate in this instantly forgettable romp warbles in the prison's amateur musical, and one of them demonstrates a rather extreme devotion to the tomatoes he grows in the on-site greenhouse.
    • 16 Metascore
    • 33 Critic Score
    Deuces Wild
    If you put the scripts for ''West Side Story,'' ''Mean Streets,'' and ''The Warriors'' in a blender, you might wind up with something like Deuces Wild, a preposterously melodramatic paean to gang-member teens in Brooklyn circa 1958.
    • 19 Metascore
    • 33 Critic Score
    Supernova
    Director Walter Hill won't take credit for Supernova... Can you blame him?
  4. Highlander: Endgame
    The endless, numbing sameness of it all.
  5. I Dreamed of Africa
    A recitation of woes doesn't constitute a plot, and panoramic shots of migrating wildlife don't convey enough African flavor.
  6. Love in the Time of Money
    The characters who cross paths here in the hard shadows of late-'90s New York City are meant to convey loneliness, bitterness, neediness, loss, and bad karma. Mostly, they convey bad Sundance.
  7. The Medallion
    The Medallion makes you long for Tucker -- and for Jackie Chan to fly without digital wings.
  8. Blue Streak
    How lame have high-concept, no-brain comedies gotten?
  9. Alex & Emma
    It's hard to say what's more excruciating: Alex's novel, which is like ''The Great Gatsby'' rewritten by Lizzie McGuire, or his quarrelsome flirtation with Emma, who has no existence as a character apart from her drive to reshape Alex into a specimen of respectable tamed manhood.
  10. 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
    • 45 Metascore
    • 33 Critic Score
    Crazy in Alabama
    As campy as a flick by Banderas' evident artistic mentor, Pedro Almódovar.
  12. Albino Alligator
    Ultimately, the talented cast -- among them M. Emmet Walsh, Faye Dunaway, Skeet Ulrich, and Viggo Mortensen -- play to their easiest star turns rather than their most interesting strengths.
  13. Someone Like You...
    It was originally called ''Animal Husbandry,'' and while the producers were throwing away that title, they might have done well to chuck the movie along with it.
  14. Woman on Top
    Has all the mood enhancing flavor of a tropical cocktail made with watered down rum and fake fruit juice.
  15. Wild Wild West
    The fusion of cheekiness and deliberately overscaled fantasy never jells.
  16. The Very Thought of You
    Features the dullest, least lifelike collection of pals this side of "Eyes Wide Shut."
    • Entertainment Weekly
  17. Head Over Heels
    Bland to dismal.
  18. Serving Sara
    The few jaunty, ''Friends''-inflected lines Perry does get off are lost among the cow pies.
  19. Great Expectations
    The film is proof that if you repackage the classics (in this case, Dickens) for the youth market in an era of MTV dislocation, what you get, in essence, is postmodern Cliffs Notes with an alt-rock soundtrack.
  20. Life as a House
    No worse than any disease-of-the-week TV movie, and no more moralistic than any Lifetime drama. But it's no better, either, and it ought to be.
  21. The Transporter
    It's like the worst movie Jean-Claude Van Damme never made.
  22. Addicted to Love
    Commits the cardinal sin of too many modern movies: It never gives the audience a clue why any of these people were ever attracted to one another in the first place. [30 May 1997, p. 54]
    • Entertainment Weekly
  23. Species II
    "Species" at least had the benefit of Henstridge's glazed porn-doll perversity, but this time any glimmers of sexual ominousness are buried in a lame, desultory chase plot and in the woefully underimagined special effects.
  24. Universal Soldier: The Return
    Jean-Claude Van Damme's latest dud.
    • 25 Metascore
    • 33 Critic Score
    American Outlaws
    Bogusly wholesome six-gun dud.
  26. Cabin Boy
    Few comedies have worked this hard to make everyone on screen look this dumb.
    • 19 Metascore
    • 33 Critic Score
    Lost & Found
    Long on smarm and short on charm.
  28. Ready to Rumble
    It just makes you want to flip on the tube to see the real (fake) thing.
  29. The Ninth Gate
    A film not even a star as foxed and foxy as Johnny Depp himself could save.
  30. Death to Smoochy
    Tells a moldy-oldie, not-nearly-as-nasty-as-it-thinks-it-is joke. Over and over again.
  31. Catch That Kid
    ''Kid'' seeks to ''empower'' its target audience of recent Pokémon grads with an adult antihero desperation that feels preemptive and inappropriate.
  32. 3 Strikes
    Empty jokes hang heavy.
  33. Head in the Clouds
    Stuart Townsend, Theron's reallife boyfriend, may have inner fires as an actor that have yet to be revealed, but in Head in the Clouds he's a somber puppy who looks as if Theron could eat him alive. I wish she had.
    • 16 Metascore
    • 33 Critic Score
    Half Baked
    Sitting on your couch watching these morons sit on their couch and get wasted is like being the only straight guest at a pot party. Everyone else is laughing, and you're left wondering why.
  35. 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.
  36. Slackers
    The movie doesn't so much extend Schwartzman's antic outsider persona from ''Rushmore'' as uglify it, reducing him to the ultimate Uncool Anti-WASP.
    • 39 Metascore
    • 33 Critic Score
    Bait
    A tired action thriller determined to play the race card every which way for every which kind of viewer, seems hopelessly behind the curve.
  38. Final Destination 2
    The only pleasure to be derived from the resulting carnage comes from the Rube Goldbergesque chain reactions that precede each fatality.
  39. Gods and Generals
    Bloodless and false.
  40. Beverly Hills Ninja
    But when the writers run out of ideas, they simply have Farley walk into a lamppost, or cop from old SNL skits.
  41. The Avengers
    The Avengers is too enervated to qualify as even a full-scale disaster.
  42. 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.
  43. Tea with Mussolini
    The film values quips and declamations over natural conversation (or an explanation of how such intelligent women could have been so blind to world events).
  44. The Haunted Mansion
    Tame and witless enough to make me long for the ancient, dusty fright kitsch of ''The Munsters.''
    • 32 Metascore
    • 33 Critic Score
    It's All About Love
    The experiment didn't work. The English-language production is a jumble of poorly delineated notions about love, celebrity, the look of romantic movies, and the sound of American-style dialogue - and it's been sitting on the shelf for over a year.
  46. Van Helsing
    Van Helsing, a fusion of eye candy and brain sputter, is a long, kinetic, yet dreary mess.
  47. Fear and Loathing in Las Vegas
    The movie is a true folly, yet there's no denying that Gilliam has gotten some of the hallucinogenic madness of Thompson's novel on screen.
  48. Max Keeble's Big Move
    Garish, squeal-pitched preteen comedy.
  49. Dumb and Dumberer: When Harry Met Lloyd
    Without any of the patented Farrelly insight into the insecure, horndoggy teen in every man, and without a grown-up setting in which Harry and Lloyd can transgress like dum-dum geniuses,Dumb and Dumberer is dumberest.
    • 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.
  51. Christmas with the Kranks
    In its hostile sitcom way, Christmas With the Kranks is a paranoid comic nightmare of conformity gone mad.
  52. Vanilla Sky
    If Crowe's eyes are open, he seems to have directed most of Vanilla Sky with his mind wide shut.
  53. Anacondas: The Hunt for the Blood Orchid
    There's no enjoyably outlandish hiss to this variation on the formula, and no Ice Cube or Owen Wilson, either. This time, a ship of capitalist fools (and no movie stars, unless you count utility player Morris Chestnut as a headliner) steams along the river in Borneo.
  54. Ocean's Twelve
    What's on screen is lazy, second-rate, phoned-in -- a heist in which it's the audience whose pockets have been picked.
  55. Kazaam
    It takes the movie all of 15 minutes to descend into sub-Spielbergian banalities about poor Max's search for his absentee dad.
  56. Things to Do in Denver When You're Dead
    Its greatest achievement is that there isn't a single convincing scene in it.
  57. Speed 2: Cruise Control
    Yet Speed 2 is as slow-moving as a garbage scow. Those blinking lights might as well be emanating from a vital-signs monitor. The story is dead in the water.
  58. Michael
    The director, Nora Ephron, displays her peerless gift for making everything seem snappy and mushy at the same time, and Travolta's performance has a slovenly, I-can-do-anything-and-you'll-still-love-me obnoxiousness.
    • 15 Metascore
    • 33 Reviewed by
      Ty Burr
    Carpool
    Carpool is affably stupid Saturday-matinee fare -- good for opiating the kids for a few hours -- but let's just say it's no Big Bully.
  60. Dolores Claiborne
    Since there is a mystery, the movie might have been entertaining camp had director Taylor Hackford staged it with pace, style, or a whisper of surprise. Instead, the plot just clunks forward-for two hours and 10 minutes.
  61. I Love You to Death
    I Love You to Death is strenuously unclever.
  62. Beverly Hills Cop III
    Though not quite the fiasco of revved-up gunplay that Beverly Hills Cop II was, this new movie, directed by John ''Rock-'em Sock-'em'' Landis, is just a clunky action thriller, with occasional comic moments rationed out to the audience like stray crumbs.
  63. Air America
    The movie has no script, and even the better gags - like one in which a couple of the pilots scribble away at coloring books in the backseat of a plane - could have been staged more vividly.
  64. Nightwatch
    Nightwatch is a horror for reasons that have nothing to do with suspenseful moviemaking.
  65. Virtuosity
    Washington is wasted here. Kelly Lynch is wooden. Crowe has a ball going over the top, but how much taunting and eyeball popping can a performer do?
  66. Jonah Hex
    The star is done in by the deathless mediocrity of the production, an assemblage of random camera shots, messy editing, redundant scenes, and witless dialogue as haphazardly stitched together as the flesh on Jonah Hex's face.
  67. Trouble Every Day
    A demented, orgiastically gory vampire/sex parable.
  68. Morlang
    A portentous and goopy Dutch drama.
  69. CJ7
    Trivial and charmless.
  70. Boarding Gate
    This one is just murk.
  71. The Disappearance of Alice Creed
    A brutally monotonous thriller.
  72. The Warrior's Way
    There isn't a shred of subtlety in their clowning - or in any part of the movie, which clumsily shoots for operatic highs and lows. But with so many borrowed bits and pieces, the only feeling it successfully evokes is déjà vu.
  73. Drive Angry 3D
    Even the film's one "original" twist is just a desperate attempt to link it up to Ghost Rider, the only lousy Nicolas Cage action film that is actually spawning a sequel.
  74. Apollo 18
    Apollo 18 fails to stay with you because, like the cratered satellite on which it's set, it has no atmosphere.
  75. Something Borrowed
    Soul-sucking romantic comedy.
  76. Big Mommas: Like Father, Like Son
    Lawrence's gender-bending jokes are played out, and his slapstick is wooden and slow.
  77. The Smurfs
    The Smurfs may be blue, but their movie is decidedly green, recycling discarded bits from other celluloid Happy Meals like "Alvin and the Chipmunks," "Garfield," and "Hop" into something half animated, half live action, and all careful studio calculation.
  78. Red Riding Hood
    Red Riding Hood goes from trite to triter, a plot collapse that overtakes any of the visual prettiness from cinematographer Mandy Walker (Beastly).
  79. The Darkest Hour
    You should be rooting for the humans, but you might as well be rooting for the blobs. Most likely, though, you'll just be rooting for the credits.
  80. Piranha 3DD
    The best part of Piranha 3DD, the pointless sequel to the utterly unnecessary 2010 remake of Piranha, is the credits. Not only do they signify that the film is finally, mercifully over, but they also allow for David Hasselhoff to sing the theme song to a new fake TV series called The Fish Hunter, a clever meta-gag that nods both to Baywatch and the Hoff's international recording success.
  81. Butter
    Self-righteous and smug in its use of heartland stereotypes, the movie backfires by assuming that its intended liberal audience is just as intolerant and condescending as the conservative opposition insists it is.
  82. Jack and Jill
    In one form or another, you get exactly what you pay for at an Adam Sandler comedy. Otherwise the man wouldn't have earned zillions.
  83. Ghost Rider: Spirit of Vengeance
    Most of the movie's action-horror set pieces play like lame Gwar music video outtakes, and Cage's signature mix of irony and off-the-rails mugging only works when you can see the actor's face. In Ghost Rider form, his character is just a skeletal automaton with neither a tongue nor a cheek to put it in.
  84. 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.
  85. The Art of Getting By
    Old Holden would call the whole movie phony, and I agree, if you want to know the truth.
  86. Snow Flower and the Secret Fan
    Sadly, rather than melding the best of two worlds, the film only takes the worst of their soap operas.
  87. Pixels
    Neither Sandler nor his listless writers (too many punchlines just sit there and collect flies) seem invested. Whether he’s saving the planet or putting the moves on Michelle Monaghan, Sandler can’t be bothered to raise his pulse above comatose. If he doesn’t care, why should anyone else?
  88. Peace, Love, & Misunderstanding
    So let's hear it for the giant wig of Pre-Raphaelite gray corkscrews planted on the noggin of Jane Fonda as a glamorous hippie grandma. The hairdo meets its match in the dull Ann Taylor togs encasing Catherine Keener: That's how you know Granny's daughter is an uptight lawyer.
  89. Transformers: Age Of Extinction
    Ultimately, Age of Extinction is an endless barrage of nonsense and noise.
    • 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.
  91. 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.
  92. Battle of the Year
    For his part, Lee seems to have pored over every sports underdog movie of the last twenty years, boiled away all the interesting particulars, and kept whatever dross was left.
  93. Silent Hill: Revelation 3D
    Some horror movies want to scare you witless, but Silent Hill: Revelation 3D just wants to beat you senseless.
  94. The Man with the Iron Fists
    The movie wants to be deadly cool, but mostly it's just deadly.
  95. The Counselor
    A jaw-dropping misfire. The dialogue is laughably pretentious, the plotting is virtually nonexistent, and the performances are so broad and cartoony that you keep wondering if it's all some sort of prank.
  96. Trance
    I love a good mind-bender, but it's getting more common these days to see thrillers that don't so much bend your mind as chop it, smash it, and place it in the Cuisinart. Trance, the new film directed by Danny Boyle is a high-brainiac art-world thriller that wants to do nothing more (or less) than give your head a majorly pleasurable spin.
  97. Back to the Future Part III
    Back to the Future Part III has that same sort of studio back-lot clunkiness. Only this time it's the audience that gets conked — by the sheer desperation of the whole enterprise.
  98. Kafka
    The movie is MTV Kafka: Instead of dialogue, character, behavior, it has a look and a mood. And that's all it has.
  99. Mr. Jealousy
    Have there ever been two less energetic stars than Eric Stoltz and Annabella Sciorra? Casting this diffident duo in an allegedly romantic comedy proves disastrous; they suck the air out of virtually every scene.
    • 31 Metascore
    • 33 Critic Score
    Blended
    In Blended, his (Sandler) comic flab has never felt as thick, and this hackneyed "family-friendly" entertainment feels less like a movie than a bad sit-com re-run.
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