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. Land of the Lost
    Land of the Lost has stray amusing tidbits, but overall it leaves you feeling splattered.
    • 32 Metascore
    • 91 Critic Score
    The Oogieloves in the Big Balloon Adventure
    Parents who have had to sit through a myriad of mindless kids movies will appreciate a chance for their kids to be themselves at the theater and to be silly right alongside them. On the whole, it can serve as a good introduction to the movie-going experience.
  3. Sinister 2
    Sinister 2 doesn’t know what it wants to be, and doesn’t add up to much.
  4. Swordfish
    A good movie? Hardly. But more than enough to pass a dog day afternoon.
  5. Robin Hood
    On all fronts, it strives to twist the Robin Hood story into something more provocative, but ultimately it’s a garbled, hollow mess of attempts at relevancy.
  6. Price of Glory
    The movie, while heartfelt and vividly shot, takes too many rote genre turns.
  7. 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.
  8. Godzilla
    There are some clever and exciting sequences, but this $120 million epic of reconstituted Atomic Age trash lumbers more than it thrills.
  9. Wrong Turn
    A blood-simple backwoods spatterfest that makes shameless use of the same old antirural moonshine Hollywood's been bootlegging for decades.
  10. Navajo Joe
    A dubbed Italian botch starring a lithe Burt Reynolds as a Native American.
  11. The Forger
    The art-heist plot is pretty by-the-numbers, but Travolta nearly saves it with his doomed air of paternal helplessness. He makes you feel the weight of being at the mercy of forces bigger than oneself. At 61, he still possesses something rare, even in rote material like this.
  12. The Perfect Holiday
    Why throw in a bizarre device involving Queen Latifah as a narrating angel and a creepy, sallow Terrence Howard as her adversary? Their A-list names may be a draw, but it's too bad no one thought the endearing performances in this charming (if cliché) family romance would be enough.
  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. Crime and Punishment in Suburbia
    A somber, draggy, deadweight, lugubrious, absurdly self serious version of ''American Beauty.''
  15. The Transporter Refueled
    It’s hard to deny the hedonistic joy in the way Delamarre plays with his various toys, and the goofball stunts—including the yacht-based finale, with a special appearance by a jet ski—are generally worth wandering through the dialogue desert.
  16. A Hole in My Heart
    To call Lukas Moodysson's A Hole in My Heart the feel-bad movie of the year would be an understatement -- it's the feel-sick movie of the millennium.
  17. Saint John of Las Vegas
    With stars like Steve Buscemi and Sarah Silverman and big-fish producers such as Spike Lee and Stanley Tucci on board, you'd think this indie would offer some glimmer of wit or originality. Think again.
  18. Untraceable
    Lane skillfully sells the tech-heavy script. But after a much-too-early reveal of the murderer's identity, the ''low battery'' signal starts to flash on this film by thriller specialist Gregory Hoblit, director of last year's far superior "Fracture."
  19. Tyler Perry's Acrimony
    The 20 or so minutes we get of Henson’s rage are not enough to warrant the title or the ticket price.
    • 32 Metascore
    • 75 Critic Score
    Aspen Extreme
    This overlong film, written and directed by Patrick Hasburgh, keeps changing tone unobtrusively. But the skiing footage — even when squeezed into the boot of a small screen — is extraordinary.
  21. Black Knight
    Lawrence, as always, exerts the appeal of a con man too lightweight to buy into his own con. He'd be funnier, though, if he didn't insist on being the only funny thing in the room.
  22. Showtime
    De Niro seems to be reacting to nothing so much as the lame movie he's stuck in.
  23. Games People Play: New York
    A bit of a tease itself. The movie keeps threatening to become amateur porn, like a risqué ''Candid Camera'' gone ''Dirty Debutantes,'' but it never quite gets there.
    • 32 Metascore
    • 50 Critic Score
    Unfinished Business
    The movie struggles to find its comedic footing by trying to bring out the family man in Dan Trunkman and underutilizing Franco, whose character clearly has much more to his disadvantage than a lack of prior business experience. Bottom line: Unfinished Business doesn’t deserve that handshake after all.
  25. Chernobyl Diaries
    If nowhere near as scary as the original Paranormal, the result is superior to many of the low-budget terror flicks that have arrived since (yes, The Devil Inside, we're talking about you) and benefits hugely from Dimitri Diatchenko's performance as moviedom's Worst. Tour. Guide. Ever.
  26. Repo Men
    A grisly one-note chase thriller.
  27. Boogeyman
    This is strictly substandard stuff, with imitative creepy noises, vertiginous camera angles, and long pauses.
  28. Fired Up!
    The teensploitation premise is like something a porn filmmaker from the '70s might have come up with. But Fired Up! has one added quirk: The script, credited to Freedom Jones, is a riot of tongue-twisting ironic sleaze -- it sounds like the first (and last) collaboration between Diablo Cody and Artie Lange.
  29. Max Payne
    It's just a grindingly inert death-wish thriller.
  30. An American Werewolf in Paris
    The cruddy, shot-in-a-warehouse settings are especially depressing, since the computer-generated special effects seem to be taking place in another movie entirely (a far livelier one). [9 Jan 1998, p. 47]
    • Entertainment Weekly
  31. Letters to God
    A bland, pious yet touching faith-based tearjerker.
  32. Tyler Perry's The Single Moms Club
    As with most of his films (Madea-centric and otherwise), subtlety isn’t Perry’s strongest suit. He tends to hammer his audience over the head with canned sentimentality, lazy stereotypes, and easy uplift.
  33. Surveillance
    A grubby, disturbing serial-killer mystery, a kind of blood-simple "Rashomon."
  34. 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.
  35. In the Mix
    A genially cruddy B movie can sometimes go places - sort of - that bigger movies won't.
  36. 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.
  37. The Lazarus Effect
    I would have loved to see more from the filmmakers, daring to fail while staking out some new terror incognita instead of just going through the motions of an experiment for which we already have the results.
  38. The Honeymooners
    Epps has a nicely beaten charm to him -- among the leads, he alone looks like he knows what a trip to the moon costs.
  39. Lucky Numbers
    The laughs are few in this inert, ungenerous comedy.
  40. 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).
  41. Teenage Mutant Ninja Turtles
    Turtles is head-and-shell better than "Transformers." Cowabunga?
  42. Battlefield America
    The editing in Battlefield America is super-speedy: Each shot lasts about three seconds, and then it's off.
  43. Perfect Stranger
    A crappy thriller gussied up with a chrome-plated veneer.
  44. Your Highness
    Natalie Portman, by the way, is fierce and funny as a babe warrior the brothers meet along the way. She's good with dirty words, too.
  45. House of 1000 Corpses
    Isn't coherent, exactly, but what dripping-ghoul horror movie is these days? The new rule is, It's not hip to make sense when you're raising hell.
  46. They
    The hilarious diminuendo of that title is such that the movie might as well have been called ''Wes Craven Presents: Not a Hell of a Lot.''
  47. This Means War
    As is true in most buddy pictures, the real love in This Means War is between FDR and Tuck. Pine and Hardy are an odd choice as Men Who Bond. Pine behaves like a player on Entourage; Hardy broods as if he thinks dating is torture. But as a result, they're kind of cute in an itchy and scratchy way, ­bumping shoulders in a pantomime of what men do in love and war.
    • 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.
  49. That's My Boy
    Never underestimate the importance of guy-on-guy sentimentality in the Adam Sandler universe. It's his way of making his fans feel as if he's high-fiving them, or maybe giving them a group hug. But Sandler, bottom line, is too good at playing louts like Donny to spend this much energy getting us to like them.
  50. Gray Matters
    Graham makes the coming-out dithering bearable, but not before she has jumped through hoops of contrivance.
  51. Gossip
    Mostly hot air.
  52. Pootie Tang
    Amiably silly.
  53. Antitrust
    While Robbins has a good time playing the boyish devil, the rest of the principals transmit on an awfully low baud rate.
    • 31 Metascore
    • 25 Critic Score
    The Big Hit
    It's tempting to brand the film anti-Semitic, but it's so utterly pointless it lacks even that distinction.
  55. Death Wish
    Eli Roth’s Death Wish isn’t a bad movie as far as super-violent exploitation flicks go. But it is a deeply problematic one. And that problem boils down to this: It’s the absolute wrong movie at the absolute wrong time.
  56. Getting Even with Dad
    A movie not funny enough for a comedy, not touching enough for a heart-warmer, and not energetic enough for a story about a robbery of rare coins — Danson and Culkin end up exposing all their weaknesses.
  57. Blind Fury
    The Zatoichi films are amusing comic-strip spectaculars — the blood spurts like something out of a Hawaiian Punch commercial. The action in Blind Fury, on the other hand, is resolutely earthbound and heavy-duty. The fact that Hauer kicks, slashes, and punches without the benefit of sight just makes you acutely aware of how ludicrous this stuff always is.
  58. Hellboy
    The best thing I can say is: This is a mess that makes no sense, so it’s a cure for the common overly architected superhero film.
  59. Hounddog
    Fanning is remarkably collected and even dignified. As for the rest of the gang, they ought to be returned to sender.
  60. Envy
    Leaves you with the dismaying sensation that Levinson, who should probably be off making his own version of ''The Player,'' has instead crafted a comedy of self-loathing, burying himself in a movie that deserves to be Vapoorized.
  61. Monster-in-Law
    As for Monster-in-Law, it's tripe on a plate.
  62. Fathers and Daughters
    Fathers and Daughters’ predictable plot keeps it from ever becoming a truly enjoyable tearjerker.
  63. Life or Something Like It
    Mostly about slapping together a bunch of clichés -- outdated clichés at that -- regarding the loneliness of ambitious women.
  64. Red Dawn
    Thor's Chris Hemsworth leads the pack as a high school football star-turned-Marine, while Josh Peck plays his stubborn younger brother. There's also a collection of junior guerrillas, including The Hunger Games' Josh Hutcherson and Friday Night Lights' Adrianne Palicki. Take that, screaming North Koreans with no agenda!
  65. First Daughter
    The role of a poised daddy's girl is a dull one for Holmes, who looks pained, in a nonspecific way, throughout her capers; the movie itself, with a screenplay by Jessica Bendinger and Kate Kondell, is a dull one for director Forest Whitaker.
  66. Deception
    Everything is wrong pretty much from the start of this misbegotten adventure.
  67. Fire Birds
    A third-rate knockoff of Top Gun and Blue Thunder.
    • 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.
  69. The Bachelor
    The mood is ruined by the bitchy 1990s stereotyping of the husband hunters.
  70. National Security
    The funny thing about Lawrence is he's often paired with a partner (e.g., ''Blue Streak,'' ''Bad Boys,'' etc.), yet has no aptitude for sharing the screen.
  71. Love the Coopers
    Even with such a talented ensemble, Love The Coopers’ convoluted narrative and overreliance on Christmas clichés keeps it from sparking any real holiday magic.
  72. Texas Chainsaw 3D
    A sign of how desperate the series' producers have become is that the big twist here is that Leatherface, the slobby butcher-boy demon in his mask of human skin, is now...the good guy. (That's a ''jump the chainsaw'' concept if ever there was one.)
  73. Hot Pursuit
    What’s spanglish for déjà vu? There’s hardly a single moment in Hot Pursuit that won’t remind you of scenes you’ve seen at the multiplex a thousand times before. (The movie’s original title was Don’t Mess With Texas, probably because Thelma & Louise Ride the Pineapple Express All the Way to Jump Street — and They’ve Got Lethal Weapons, Y’all! was just too long.)
  74. Cop Out
    Without that heightened racial antipathy-turned-camaraderie, there's not a whole lot to Cop Out besides watching Kevin Smith pretend, with a crudeness that is simply boring, that he's an action director making a comic thriller about cops versus a Mexican drug gang (yawn).
  75. House at the End of the Street
    This is the rare horror film so bad that you almost wish it had turned into a good old connect-the-gory-dots slasher movie. The only mystery at work is how Lawrence's agent ever let her sign on to this.
  76. The Book of Henry
    Lieberher delivered such a nuanced performance in Midnight Special (ditto Tremblay, in Room) that The Book of Henry can (we hope) just be chalked up to a case of early-career hiccups.
  77. Crazy Eyes
    An appreciation that the pain is personal doesn't compensate for the picture's self-absorbed need to alienate.
  78. The Disappointments Room
    There simply aren’t enough scares to build tension throughout.
  79. Vampire Academy
    If you're not at the bull's-eye center of the target audience, a movie like this one can suck the life out of you.
  80. The Mummy: Tomb of the Dragon Emperor
    After an hour of inert exposition, a race through Shanghai gooses the movie alive. Then it plunges back into torpor.
    • 31 Metascore
    • 50 Critic Score
    Idle Hands
    Let us now praise Seth ''Scott Evil'' Green, whose beautiful delivery of otherwise generic wisecracks is all that stands between this painfully derivative horror comedy and a premature date with the eject button.
  82. The Life of David Gale
    A self-righteous mishmash that can't decide whether to be a tribute to the fanatical leftist passion that thrives in college towns, an indictment of that very same fanaticism, or a ghoulishly didactic snuff-video thriller.
  83. Winter's Tale
    It's no coincidence that Winter's Tale is being released on Valentine's Day, when our resistance to schmaltz is at its weakest. But do that special someone in your life a favor and splurge on some flowers and a nice heart-shaped Russell Stover box instead.
  84. Happy Gilmore
    Adam Sandler stars in a one-joke Caddyshack for the blitzed and jaded.
  85. Jack
    it's a synthetic, rather drab movie, one that seems linked less to experience, or even to fantasy, than to other movies - "Big," of course, and also "E.T.," "Mask," and "Phenomenon."
  86. Dylan Dog: Dead of Night
    Never mind that Dylan Dog: Dead of Night is loosely based on an Italian comic series from the 1980s; this low-rent adaptation owes an embarrassingly big blood debt to HBO's "True Blood."
  87. Seventh Son
    (Bridges) has a tendency to make mistakes, especially when it comes to science fiction and fantasy titles. He has followed up the minor disasters that were "R.I.P.D." and "The Giver" with Seventh Son.
  88. The Cave
    Sci-fi horror aficionados, however, might want to look elsewhere for their scares, as they're unlikely to find any here. Fright-wise, The Cave is a dry hole.
  89. Alex Cross
    In the face of such junk, the idea that Fox would proudly put himself on a punishing regime of severe diet and exercise to get prisoner-skinny-yet-crazy-muscled for the job of make-believe is vanity at best, obscenity at worst.
  90. The Final Destination
    It's no exaggeration to say that the actors have less personality than the pipes, nail guns, grinding gears, decaying beams, and slowly spreading oil spills that are fused, with a kind of empty-dread technical precision, into Rube Goldberg torture devices.
  91. Punisher: War Zone
    Dominic West (The Wire) plays a facially mutilated Mob boss as if he's in a broad SNL sketch.
    • 30 Metascore
    • 50 Critic Score
    Vampire's Kiss
    Playing a sleazeball who has stumbled upon an excellent excuse for his bent, Cage holds the movie together as best he can. More important, he nails down his unique approach to acting, managing to be simultaneously stylized and naturalistic. [7 June 1996, p.66]
    • Entertainment Weekly
  93. The Spirit
    As the vamps, Eva Mendes and Scarlett Johansson might be posing for a fashion spread with just one note to play -- gorgeous high-bitch mockery.
  94. Feeling Minnesota
    Feeling Minnesota suggests Sam Shepard trying to be Quentin Tarantino. It makes even gun battles seem pretentious.
  95. Saw VI
    The thinnest, draggiest, and most tediously preachy of the Saw films.
  96. Bulletproof
    Universal should have marketed this formulaic drivel as the taboo love story it really is, and then watched its stars run for cover.
  97. Over Her Dead Body
    Rudd's talents as a thinking woman's charmer are wasted -- as are those of amiable Jason Biggs in a weak variation on the pop theme of being a gal's gay best friend.
  98. The Babymakers
    This comedy about a couple who can't get pregnant is stuck between Judd Apatow's humane raunchiness and the American Pie series' smirky broadness.
  99. The Hangover Part III
    You should stick around for the end credits because there's a Helms sight gag that's absolutely priceless. The movie could've used more laughs like that one.
  100. The Pacifier
    A yawn-by-numbers romper-room dud.
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