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. Deliver Us From Evil
    This rote exorcism-is-real claptrap.
  2. 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.
  3. What If
    An unctuous rom-com that runs its characters through every plastic cliché of a pre-Oscar McConaughey vehicle, ultimately causing us to root against the vacuous couple and their predetermined happy ending.
  4. Passengers
    Passengers is not very good. In fact, it’s pretty bad.
  5. A Merry Friggin' Christmas
    Even if Robin Williams were still among us, the limp, drearily derivative A Merry Friggin' Christmas would feel like it had a pall cast over it.
  6. The Pyramid
    If you're looking for cheap scares and have 90 minutes to kill, you could do worse than The Pyramid. But not a lot worse.
  7. Dirty Grandpa
    Dirty Grandpa feels like spending 100-plus minutes with a scatalogical toddler, proudly showing you what he made in his diaper. Don’t look if you don’t have to.
  8. The Last Witch Hunter
    Seemingly every time there was an opportunity to do something fun, The Last Witch Hunter runs in the other direction, creating an unfortunately heavy-handed, humorless, self-serious tone for a story that should be allowed to be a little goofy.
  9. Vice
    Everything about Vice feels like recycled goods. It's basically "Westworld" meets "Blade Runner" programmed by glitchy filmmaking replicators.
  10. Trumbo
    How could a movie about a great screenwriter have such a terrible screenplay?
  11. Fifty Shades Freed
    Strip the pleasure away from a guilty pleasure and what are you left with exactly? Fifty Shades Freed, the third and final cinematic installment in E.L. James’ trashy S&M trilogy, answers that question with every ludicrous plot twist, stilted line delivery, and too-laughable-to-be-hot sex scene.
  12. The Neon Demon
    The dialogue, most of which is stilted philosophy about femininity and beauty, sounds like something your freshman-year roommate said and you learned to ignore.
  13. Man Down
    Director Dito Montiel splinter’s the film’s story on multiple tracks, in a truly shameless and incredibly obvious effort to protect a Big Twist.
  14. Space Jam
    This mediocrity disguised as entertainment, this greed promoted as synergy — this, to paraphrase that seminal media study, Broadcast News, is what the devil looks like.
  15. Bright
    Ayer and Landis’s world is so dull and ill-conceived that few will want to spend any additional time there. It’s a world of magic that lacks any of its own.
  16. Dunston Checks In
    Director Ken Kwapis fills the movie with feeble references to Planet of the Apes and King Kong that don’t amuse adults and sail over the heads of tykes who snicker most at the raspberries Dunston blows at anyone he meets.
  17. The Beach Bum
    Hard on the heels of January’s god-awful "Serenity," we’re now treated to The Beach Bum — a shambling, self-indulgent inside joke about a perpetually stoned holy fool from the Florida Keys named Moondog. I’ll give you one guess who plays him.
  18. Chaplin
    A massive Hollywood biopic about a man who never quite seems there.
    • 50 Metascore
    • 33 Reviewed by
      Ty Burr
    Runaway
    Starts with savvy concepts (televised mind control and man’s reliance on robots, respectively) and quickly devolves into sour, overwritten diatribes.
  20. 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.
  21. Holmes & Watson
    A brilliant supporting cast, which includes Hugh Laurie, Steve Coogan, Ralph Fiennes, Lauren Lapkus, Rebecca Hall, and Kelly MacDonald, is utterly wasted on this lame and forgettable outing. The only real mystery is why they wanted to be apart of this project at all.
  22. Total Eclipse
    Total Eclipse is pretty unbearable: The movie is dour and patchy and stilted — it leaves you sitting glumly waiting for the next baroque bout of tormented misbehavior.
  23. Encino Man
    Pauly Shore, the reptilian imp from MTV. Reeling off Valley Dude slang in a slurry monotone, as if he could barely be bothered to make his lips form words, he’s a fey sleazebag in hippie duds — a cross between Jim Morrison and Richard Simmons. The most interesting thing about watching Pauly Shore is wondering how long it will be before he has to take a day job.
  24. The Darkest Minds
    There is no resolution for any of the story lines haphazardly dangling like electrical wires. No villain is defeated, no secrets are explained. When the credits roll, there has been no catharsis for the 90 minutes of movie preceding it, which makes it all feel like a protracted introductory sequence for a sequel that, god willing, will never come.
    • 33 Metascore
    • 33 Reviewed by
      Ty Burr
    Son of the Pink Panther
    Son of the Pink Panther isn’t an unwatchable mess like 1982’s Curse of the Pink Panther; it trots along quickly with series veterans like Herbert Lom adding needed class. But there’s a void at the center of this film about Inspector Clouseau’s long-lost son, and its name is Roberto Benigni. Where Peter Sellers’ Clouseau had a blissfully out-of-it officiousness, the Italian comedian’s sole shtick is to beam idiotically. He’s that ruinous oxymoron: an unsurprising clown.
  26. Mermaids
    In the end, there’s something a little insulting about a contemporary movie that reduces women to either trashy bimbos or repressed virgins.
  27. Don't Tell Mom the Babysitter's Dead
    On Married With Children, the baby-faced Applegate has a slutty spark. Here, the role is too straight, and she’s blah — an apple pie that’s neither sweet nor tart enough.
  28. Peppermint
    All of us, but especially Jennifer Garner, deserve better.
  29. Stella
    Stella is never dull, but by the time it replays the famous Barbara Stanwyck-in-the-rain scene, it’s jerking camp laughter instead of tears.
  30. My Favorite Martian
    Flubber was more edifying than My Favorite Martian — and more fun.
  31. Fathers' Day
    If Fathers’ Day really had been released in the mid-’80s, I’d have said it was so funny I forgot to laugh.
  32. The King's Man
    But for all its faults, The King's Man is at least hilariously bad in the way that emotionless, made-by-committee blockbusters like Star Wars: The Rise of Skywalker are not.
  33. Night of the Living Dead
    In the history of bad ideas, George Romero’s decision to produce a color remake of his disturbingly frenzied 1968 zombiefest Night of the Living Dead has to rank right up there with New Coke.
  34. Space Jam: A New Legacy
    Algorithmically speaking, it's no slam dunk.
  35. Endings, Beginnings
    If ever there was a movie to suffer to, Endings, Beginnings is it.
  36. Tales from the Crypt: Demon Knight
    To call Demon Knight a popcorn movie is to give it too much credit — I doubt it would raise the pulse of Orville Redenbacher.
    • 38 Metascore
    • 33 Critic Score
    Sister Act 2: Back in the Habit
    To say the script is lame is to be charitable, but Whoopi’s irrepressible charm makes the nunsense watchable. Once again Hollywood doesn’t know when to leave well enough alone: Renting this sequel is like advancing a grade and getting last year’s teacher.
  38. Blonde
    The main thing the movie misses in portraying Marilyn solely as a tragic sex bomb isn't just the pleasure that Monroe herself brought to millions, but de Armas's inner light too. The spark and vitality so evident in previous projects like Knives Out and No Time to Die has been smothered down to one note: walking wound. What's left is mostly empty iconography and a few indelible images, a bombastic curiosity wrapped in the guise of high art. Some like it cold.
  39. Jack Frost
    Jack Frost is so treacly and fake it makes you feel like you’re trapped in a winter-wonderland paperweight.
  40. Malcolm & Marie
    The whole movie comes across as deeply self-conscious, more concerned with how it sounds than what it's saying, consumed with impressing people rather than expressing something.
  41. A Good Man in Africa
    Disappointingly tired, unfunny, and disengaged.
  42. For Love or Money
    By now, I’m not sure even Donald Trump could love a movie that asks us to get misty-eyed over real estate.
    • 65 Metascore
    • 33 Critic Score
    Mortal Thoughts
    Directed by Alan Rudolph (Choose Me), this tedious film, rife with flashbacks and slow-motion sequences that underscore the already overbearing plot and exaggerated characters, fails both as a mystery and as a statement on marital violence.
  44. Oscar
    Every chuckle feels engineered. Stallone is reduced to playing straight man to a gaggle of stock Damon Runyon hoods, though Tim Curry, looking like a stuffed cod, brings a prissy, nerdish glee to the role of a madly obsequious linguistics professor.
  45. Texasville
    The Last Picture Show was a mood piece drenched in acrid despair. Texasville is two hours of flat, Southern Gothic whimsy. The movie has the form of a soaper without the juicy content.
    • 68 Metascore
    • 33 Critic Score
    Avalon
    The movie is the visual equivalent of a stranger picking out highlights from his family album and providing brief descriptions of them. Everything that happens in Avalon, be it happiness or trauma, is infused with the same tone. The result is test-pattern emotion; everything’s on the same level. There’s no discrimination and, hence, no drama.
    • 34 Metascore
    • 33 Critic Score
    Freejack
    Directed by Geoff Murphy, Freejack is rife with run-of-the-mill action sequences and glaring inconsistencies.
  48. Hardware
    Had the killer droid been conceived as a charismatic demon, Hardware might have delivered some B-movie kicks. As it is, there’s nothing particularly scary or awesome about this low-tech walking junk pile. It’s as if someone had remade Alien with the monster played by a rusty erector set.
    • 44 Metascore
    • 33 Reviewed by
      Ty Burr
    Chasers
    Hopper peppers the cast with his usual assortment of fringe players (Dean Stockwell, Crispin Glover, Seymour Cassell), but his own cameo as a horny salesman is an embarrassment, and the dreadful script mistakes cuss words for wit every step of the way.
  50. Moonfall
    Mostly, though, as TV newscasters inform us, civilization has taken a serious nosedive — definitely the case when a well-financed Emmerich disaster flick can't even get its dumb-fun groove on.
  51. Flesh and Bone
    In Baker Boys, Kloves crafted a melancholy vision laced with ripe possibilities for pleasure and love. But the movie was (inexplicably, to me) a commercial disappointment, and Kloves, perhaps as a delayed response, has returned with a vision drained of joy, freedom, excitement.
  52. The Princess
    King is an engaging actress to watch, if she only had an actual backstory, but the movie is so relentlessly romp-y and blood-splattered it quickly becomes numbing.
  53. Gang Related
    Belushi certainly proves that he can play an uncharismatic lout with conviction, but the talented Shakur is — literally — wasted in his final screen performance.
  54. If Lucy Fell
    Quick, get the bug repellent, it’s another infestation of clueless, chatty, goofily dressed Gen Xers flitting around the scary idea of love!
  55. Back to Black
    There’s no desire to interrogate her artistry or to grant a portrait of what made her tick. In this rendering, Winehouse is made up purely of audacity, vocal theatrics, and addiction-fueled behavior. When it comes to this surface-level exploitation of Amy Winehouse’s life, just say no, no, no.
  56. North
    North is structured like a black-comic Wizard of Oz, but by the time North awakens from his dream, even home doesn’t seem like a place worth visiting.
  57. The Book of Eli
    A ponderous dystopian bummer that might be described as "The Road Warrior" without car chases, or "The Road" without humanity.
  58. The Boondock Saints II: All Saints Day
    Earns points only for being remarkably unself-conscious about its across-the-board ineptitude.
  59. Gamer
    As the brutish Kable, Gerard Butler must find out who's pulling his strings, but it's the audience whose chain gets yanked by this headache-inducing techno-violent mishmash.
  60. All About Steve
    A creepy, humiliating ''comedy,'' playing to Bullock's worst instincts for demonstrating the lovability of women who don’t fit in.
  61. Everybody's Fine
    Calculatedly soppy, seasonally phony Americanized remake of Giuseppe Tornatore's 1990 "Stanno Tutti Bene."
  62. Love Happens
    No authentic emotion of any kind happens in this damp, Seattle-based romance, a fizzle for both stars.
  63. My Big Fat Greek Wedding
    The wedding, which turns the very concept of ''Greek'' into the sort of hideous, pandering clichés that look rejected from bad Jewish and Italian sitcoms.
  64. Saw VI
    The thinnest, draggiest, and most tediously preachy of the Saw films.
  65. G.I. Joe: The Rise of Cobra
    Don't go expecting an escapist night at the movies; go expecting to be cudgeled into numb, drooling submission.
  66. Miss March
    Writer-director-stars Zach Cregger and Trevor Moore, of the Whitest Kids U'Know, here prove the crassest, most maladroit moviemakers you know.
  67. Cursed
    Screenwriter Kevin Williamson (the Scream trilogy), having bottomed out in the horror genre, now dips below bottom (there isn't a line that has his knowing sweet-and-sour zing).
  68. Control
    Antal has assembled what may be the single most colorless group of mangy lowlifes I have ever seen.
    • 33 Metascore
    • 25 Critic Score
    State Property 2
    State Property 2 is no more three-dimensional than your average brand-name-laden hip-hop video.
  70. Four Brothers
    Because the script, riddled with verbal ugliness by David Elliot and Paul Lovett, sends the movie to a series of arbitrary nowheres, the final showdown for the Mercer boys and their enemies is just as meaningless and sense-deadening.
  71. Sympathy for Mr. Vengeance
    So badly told that it ends up dissecting a corruption that exudes from nowhere but itself.
  72. Undiscovered
    As Brier's comrade-in-lip-gloss, Ashlee Simpson, dressed to look like a teenybop girl version of Crispin Glover in "River's Edge," is the real deal -- in fake cred.
  73. Underclassman
    The loserville teen comedy Underclassman is like a student project sloppily cribbed from other kids' notes -- kids who have seen "Rush Hour" and still can't get over how funny it is to stick a noisy black guy in a distinctly nonblack setting.
  74. Venom
    A mud-simple horror trudge set in a swamp colony of Abercrombie models.
  75. Domino
    The movie is trash shot to look like art imitating trash.
    • 33 Metascore
    • 25 Critic Score
    Grandma's Boy
    Does a very thorough job of reducing every recognizable member of the cast to probable career lows.
  77. End of the Spear
    Atrociously scripted and edited.
  78. When a Stranger Calls
    When a Stranger Calls is ba-a-a-a-c-k, in frightless form, updated for the age of anytime minutes and caller ID.
  79. Ask the Dust
    The movie lacks even the misplaced fervor of obsession. It's lifeless kitsch.
    • 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.
  81. Hoot
    Don't let the Carl Hiaasen pedigree fool you: Hoot is an Afterschool Special too crummy to give a hoot about.
  82. Little Man
    Tedious.
    • 41 Metascore
    • 25 Critic Score
    John Tucker Must Die
    Astonishingly (and offensively), the witless ending comes down harder on the women than the cad.
  84. Brothers of the Head
    A glumly serious British mock rock doc: You could forgive the paucity of jokes if Brothers of the Head had anything to say, or if the '70s-vérité surface were remotely convincing.
  85. Zoom
    In a feat of dullness quite powerful in its own way, this lifeless family comedy sucks the joy from every joke it touches.
  86. The Quiet
    This dank and rhythmless ''psychological'' potboiler was directed by Jamie Babbit, who made 2000's "But I'm a Cheerleader," and though she has shifted tones from shrill camp to moody angst in The Quiet, she still thinks in stereotypes so thin that they put you to sleep the moment they open their mouths.
    • 30 Metascore
    • 25 Critic Score
    The Texas Chainsaw Massacre: The Beginning
    Unlike "Hostel" or "Wolf Creek," TCM:B is rank and depressing.
    • 27 Metascore
    • 25 Critic Score
    Let's Go to Prison
    Nearly laughless.
    • 22 Metascore
    • 25 Critic Score
    Black Christmas
    Twice as many accidental laughs as scares.
    • 33 Metascore
    • 25 Critic Score
    Code Name: The Cleaner
    Get Lucy Liu better roles!
  91. Tears of the Black Tiger
    A few more films like Tears of the Black Tiger, and kitsch will be on its way to having a bad name.
  92. Hannibal Rising
    Hannibal Rising reduces this great creature of the pop imagination to a Eurotrash Boy Scout throwing a homicidal snit fit.
  93. Norbit
    Murphy speaks in a breathy lisp, as if his mouth had been partially buttoned shut, and he doesn't give himself the nerd's traditional redeeming feature of a geeky, slide-rule intellect. Norbit, all frozen gawk, is just a very dim bulb.
    • 36 Metascore
    • 25 Critic Score
    Are We Done Yet?
    Atrocious sequel.
  95. Perfect Stranger
    A crappy thriller gussied up with a chrome-plated veneer.
  96. The Invisible
    Chatwin comes off as prickly and annoyed -- they should have called this "Perturbia."
  97. Next
    An immediately forgettable action pic directed with a blowtorch by Lee Tamahori.
  98. You Kill Me
    Inert dud of a hitmen-are-people-too comedy.
  99. Cashback
    Director Sean Ellis has a lovely eye, but he's set the film in his blind spot. Not only can't he distinguish between art and porn, savoring and wallowing, universal truths and exhausted clichés -- he doesn't even seem interested in these distinctions.
  100. Goya's Ghosts
    In a season of digital bombast, it can be a relief to walk into a stodgy life-of-the-great-man costume drama. Goya's Ghosts, before it turns into a messy, horse-drawn load, achieves a civilized stuffiness that gives off its own mild pleasure.
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