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. Hot Tub Time Machine 2
    It’s a comedy that’s so witless and unfunny and shoddily made it makes "The Hangover 2" look like "The Godfather 2."
  2. The Shadow
    The Shadow, like 1991’s The Rocketeer, tries to pass off its retro thinness as a quasi joke, but it’s a desperate strategy. The filmmakers seem to be kidding everyone — the audience and themselves — and that just leaves us waiting for this particular flashback to fizzle away.
  3. Paul Blart: Mall Cop 2
    Paul Blart: Mall Cop 2 does all it was created to do: exist.
    • 21 Metascore
    • 25 Critic Score
    Geostorm
    A disastrous disaster movie that is actually quite low on the disasters to its own detriment.
  5. The Best of Me
    Even with lowered expectations toward escapist fare taken into account, the film is a long slog, with Marsden and Bracey conveying little but Crest smiles and smolder, while Liberato and Monaghan are stuck doing endless cry-face.
  6. Criminal
    Criminal’s story moves like a fat cow. Costner and Oldman’s characters are sluggishly chasing after — irony alert! — a big black duffel back full of $100 bills, hidden behind a stack of George Orwell books.
  7. No Escape
    Even ignoring the racism — which is pretty much impossible — No Escape is a cliché-ridden, artless relic.
  8. Captive
    The thin story has been stretched like Silly Putty to feature-film length and the result is utterly see-through in its sledgehammer moralizing.
    • 30 Metascore
    • 25 Critic Score
    Stonewall
    There’s bad, and then there’s offensively bad.
  10. Norm of the North
    The animation already looks dated, and it feels as lazy as the bland narrative.
  11. 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.
  12. Wiener-Dog
    In Wiener-Dog, Solondz just keeps telling the same dark joke over and over again—and it just keeps getting less and less funny. It’s a dog.
  13. Mother's Day
    If you love your mother, do not make her see this movie.
  14. Airheads
    The film’s most distinctive, if obnoxious, feature is the coy, look-at-what- an-adorable-doofus-I-am clowning of Adam Sandler, who here, as on Saturday Night Live, parades his ironic infantilism.
  15. Bulletproof
    Universal should have marketed this formulaic drivel as the taboo love story it really is, and then watched its stars run for cover.
    • tbd Metascore
    • 25 Critic Score
    Going Overboard
    At least the movie has archival value: an early appearance by Chicago Hope‘s Peter Berg, along with Billy Zane embarrassing himself as a favor to his wife, Liza Collins Zane, who costars in the film.
  17. The Bodyguard
    The Bodyguard is an outrageous piece of saccharine kitsch — or, at least, it might have been had the movie seemed fully awake. Instead, it’s glossy yet slack; it’s like Flashdance without the hyperkinetic musical numbers and with the romance padded out to a disastrously languid 2 hours and 10 minutes.
  18. Thinner
    Instead of exploiting the mystery and dread, or even the comedy, of Billy’s condition, Thinner turns into an excruciatingly low-grade pursuit thriller, with Billy hunting down the old Gypsy sage (Michael Constantine) who put the curse on him.
    • 43 Metascore
    • 25 Reviewed by
      Ty Burr
    City Slickers II: The Legend of Curly's Gold
    Everything about the movie feels secondhand, including the wheezy plot about a treasure map and buried gold. The real problem, though, is plain old sequel-itis: Because the first story completed the narrative of these characters, the only reason to make a second film is money.
  20. The Arrival
    The Arrival looks and feels awfully small and cheap. In that way, the movie does feel like those science-fiction classics of the ’50s. But back then, sweaty heroes didn’t utter lines of ’90s dialogue like ”I look like a can of smashed a–holes.”
  21. Cobb
    In Cobb, Jones seems trapped inside his own febrile personality. He’s so utterly, hyperbolically Tommy Lee Jones that his performance doesn’t begin to register as an imaginative look at who Ty Cobb was.
    • 37 Metascore
    • 25 Critic Score
    Cutthroat Island
    Who thought letting Harlin steer into Captain Blood territory was a sage idea? To a piece that’s intended as a comic, tongue-in-cheek romp, he brings the same brutal, slo-mo pyrotechnics that lit up both his hits (Die Hard 2, Cliffhanger) and his biggest previous miss (The Adventures of Ford Fairlane). Somewhere, Errol Flynn is wincing.
  23. The 15:17 to Paris
    Eastwood seems to be reaching for some level of realism, but when every single interaction feels like half-coded AI tried to recreate bro talk, it’s clear that a mistake has been made.
  24. 1492: Conquest of Paradise
    At 2.5 hours, 1492 is even harder to sit through than last month’s schlock extravaganza Christopher Columbus: The Discovery. In each case the filmmakers have fallen into a similar trap. Out of some vague mixture of historical ”duty” and commercial myopia, they’ve presented Columbus as the same cardboard visionary we learned about in school.
  25. Down Periscope
    Periscope is filled with such familiar faces as Bruce Dern and Rip Torn playing squabbling admirals, and Harry Dean Stanton in a tiny role as a grizzled engineer. None of them are used to good effect.
    • 11 Metascore
    • 25 Critic Score
    Death Wish II
    The shamelessly rehashed Death Wish II finds Kersey in L.A., methodically hunting down those responsible for his daughter’s death (just as she’s recovering from her assault in the first Death Wish).
    • 18 Metascore
    • 25 Critic Score
    Death Wish 3
    The preposterously Rambo-esque Death Wish 3 sends him to New York City’s bombed-out slums to mow down “creeps,” using machine guns and missile launchers.
    • 25 Metascore
    • 25 Critic Score
    Death Wish V: The Face of Death
    An appropriately absurd finale for a series that long ago went over the top.
  29. Bird on a Wire
    Bird on a Wire is far from inept-every one of those car chases is masterfully staged. Still, for most of two hours you’re pummeled with formula; it would be hard to name another movie at once so proficient and so dull. When a director as talented as Badham reaches this state of empty craftsmanship, who can say whether he’s working out of boredom or cynicism? At this point, there may be very little difference.
  30. Mercury Rising
    The nuttiest thing about Mercury Rising is that when Alec Baldwin, as the silky-voiced evil defense honcho, explains that he took his cutthroat actions to protect the lives of American undercover agents, he actually sounds quite reasonable. You can just about feel the imbecility rising.
  31. Johnny English Strikes Again
    Every gag in this movie has already been done before, and better, presumably by one or both of the earlier Johnny English films. I promise that I will never force myself to find out.
    • 60 Metascore
    • 25 Critic Score
    Beyond the Valley of the Dolls
    As bad as Ebert’s screenplay is, Meyer’s direction is just as choppy. The film also looks ugly.
    • 40 Metascore
    • 25 Reviewed by
      Ty Burr
    Ernest Goes to Jail
    The script tries to work up sympathy for a character who’s not much more than the bastard trailer-park spawn of Jerry Lewis. Sadly, this is everything you ever thought an Ernest movie would be.
  34. The Beverly Hillbillies
    The plot, which features Lea Thompson as a gold digger scheming to marry Jed, is like something you’d catch on the USA Network at 4 a.m. But enough of beating a dead possum. After sitting through The Beverly Hillbillies, I now realize that the best tribute anyone can make to the pop detritus of our childhood is to let it rest in peace.
  35. Larger Than Life
    The trek is long, the direction (by Murray’s Quick Change colleague Howard Franklin) is soft, the script (by Roy Blount Jr.) is windy, and the occasional laughs are as heavy-footed as the thunking lead pachyderm herself.
  36. The First Power
    Yet another low-grade spectacular about an evil force that leaps from body to body.
  37. The Haunting
    The scariest thing about The Haunting is how awful it is. No, worse than awful: desperate. It’s a horror flick afraid of its own audience, as lost in its own geography as the fictional film crew in The Blair Witch Project.
  38. Bride of Chucky
    Bride of Chucky is teen horror for dummies.
  39. Navajo Joe
    A dubbed Italian botch starring a lithe Burt Reynolds as a Native American.
    • 48 Metascore
    • 25 Critic Score
    The Doom Generation
    Good luck searching for meaning — you’ll find mostly blood and epithets.
    • 16 Metascore
    • 25 Critic Score
    Shanghai Surprise
    Some bad films become kitschy-cool with age, but Shanghai Surprise continues to rot.
  42. 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.
  43. The Bonfire of the Vanities
    One of the most indecently bad movies of the year.
  44. The People Under the Stairs
    If there were truth in advertising, The People Under the Stairs would be called The Not Very Scary Movie Set Inside a Grungy, Badly Lit House.
    • 48 Metascore
    • 25 Critic Score
    We're No Angels
    What are two of America’s top dramatic actors, a serious playwright, and a hard-boiled British director doing in We’re No Angels, a meaningless stab at film comedy? Failing badly, that’s what.
  46. An American Pickle
    There are actors who can pull off dual roles, and now we know Seth Rogen isn’t one of them.
  47. The Power of One
    The Power of One spends so much screen time reveling in the eloquence and bravery of its hero and depicting South Africa’s blacks as an anonymous horde of victims that the film, in effect, becomes their victimizer.
  48. The Prom
    Some of the songs have charm. The cast is undeniably talented. But ultimately, the film has way too much in common with the egomaniacs at its center: It poses for an undeniably good cause, but its greater purpose is to collect the credit for having done it.
  49. 2 Hearts
    There’s a great film to be made about organ donation — the miraculous, often mysterious link between donor and recipient and how that decision touches lives. But 2 Hearts doesn’t come close to finding the pulse required to be that movie.
    • 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.
  51. 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.
    • 28 Metascore
    • 25 Critic Score
    Airborne
    High production values and a moderately appealing cast do nothing to ameliorate the tedium... The sappy concoction concludes with a genuinely impressive race sequence, but it’s not worth the wait.
  53. 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.
    • 71 Metascore
    • 25 Critic Score
    What Happened Was...
    It’s hard to believe that these two people, so dissimilar in every way, would be attracted to each other in the first place. It’s even harder to listen to the drone of the numbingly unsympathetic Michael (Noonan, also the movie’s writer and director). When there are only two characters on screen, you’d better rouse concern for both so your viewer is not fatally tempted by the stop button.
  55. 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.
  56. Warlock
    Warlock is an occult schlock-o-rama, with special effects so low-budget they might have come out of a joke shop.
    • 49 Metascore
    • 25 Reviewed by
      Ty Burr
    Dennis the Menace
    With ”Dennis,” Hughes takes har-de-har brutality to new depths — it’s a movie that seems made specifically to blunt the sensibilities.
  58. Nowhere to Run
    The producers of Nowhere to Run simply toss out the mousetrap. They make the dismal mistake of turning Van Damme into a softy, a sensitive lunk who puts up his dukes only because he wants to help his new family. The former kickboxer would do well to remember that the most heartfelt performance he was put on this earth to give revolves around the tender sound of snapping limbs.
  59. 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.
  60. Desperate Hours
    The most desperate thing about Desperate Hours is Michael Cimino’s attempt to direct it coherently. In Cimino’s paws, the story of a merciless crook (Mickey Rourke) terrorizing a suburban family descends into lurid gibberish.
  61. He's All That
    It might be just as well that Padgett is not given a real emotional arc, nor anything resembling an internal life. Even when little is asked of her, Rae's acting is not up to the challenge.
  62. Consenting Adults
    This is the sort of cloddish thriller in which characters keep putting themselves in dangerous situations because…the movie requires them to be in dangerous situations. The one true surprise has nothing at all to do with the plot: It’s Kevin Spacey’s hair. Dyed a glittering blond, it sets off his smirky, come-hither mug with maximum perversity.
    • 26 Metascore
    • 25 Critic Score
    Millennium
    It offers neither the tension of a good plane-disaster movie nor the ingenuity of a smart time-travel tale.
  64. Mr. Destiny
    This high-concept update of It’s a Wonderful Life, Mr. Destiny, is pure formula treacle, but James Belushi, playing a schlub who learns what life would have been like had he become a big executive, is at his most immediate and appealing.
  65. Fire Birds
    A third-rate knockoff of Top Gun and Blue Thunder.
  66. Taking Care of Business
    The plot is déjà vu all over again, another variation on the proletarian-joker-goes-yuppie formula used in Trading Places, The Secret of My Success, and Opportunity Knocks. In Taking Care of Business, the formula gets boiled down to its bare bones. The movie is nothing but a series of executive signifiers — it should have been called The Trappings of My Success.
    • 47 Metascore
    • 25 Critic Score
    Only the Lonely
    Only the Lonely is for only the desperate.
  68. Clockwatchers
    There’s a wisp of a plot (who could the office klepto be?), but most of Clockwatchers is as empty of drive and imagination as its poor-little-victim heroines, who never seem more than sulky, overgrown high school girls.
  69. Diana: The Musical
    If you want royal intrigue and insight, do yourself a favor and revisit Harry and Meghan's Oprah interview because Diana: The Musical is rather like the royal family itself these days, expensive and pointless.
  70. 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.
  71. Texas Chainsaw Massacre
    A remake could have been fun if it had been made with vision, or at least an appreciation of the original. If that's grade-A beef, call this one a rancid veggie burger.
  72. Last Man Standing
    Writer-director Walter Hill follows up last year’s nuanced, underrated Wild Bill with this numskull, overwrought shoot-’em-up.
    • 38 Metascore
    • 25 Critic Score
    Boris and Natasha
    The slapstick might appeal to some kids, although it’s extremely dumb and, even worse, just not funny.
    • 48 Metascore
    • 25 Critic Score
    Blues Brothers 2000
    The Blues Brothers may now just qualify as the most overextended one-joke shtick in history.
  75. Darkness Falls
    Darkness Falls is like something salvaged from Stephen King's wastebasket.
  76. 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.
  77. Dear Frankie
    A Scottish weepie of such bathos and balderdash that it deserves a drinking game in its rotten honor.
  78. Pretty Persuasion
    The movie wants so badly to be mentioned in the same breath as "Heathers" or "Election" that it's not even funny. Really, I mean it, this charred-black comedy is not even funny.
  79. Lord of War
    The result is a dead pile of information in search of a movie.
  80. The Fog
    Selma Blair, the one vibrant actress in a cast of colorless screamers (including Tom Welling from Smallville and Maggie Grace from Lost), takes Adrienne Barbeau's old role.
  81. Firewall
    Firewall is a witless entertainment, and a derivative one, too; it's everything listless about Hollywood in February, everything discardable about the genre in general.
  82. Ultraviolet
    Ultraviolet, warns someone, ''Don't overthink it.'' Sage advice for anyone masochistic enough to watch this pile of poorly pixelated vampire poo.
  83. The Zodiac
    The Zodiac has been made with the dunderheaded flatness of bad '70s TV.
    • 24 Metascore
    • 16 Critic Score
    Stay Alive
    Videogames are no longer brainless, so why are videogame movies so slow to evolve?
    • 17 Metascore
    • 16 Critic Score
    Material Girls
    It's not "Clueless," just clueless.
    • 19 Metascore
    • 16 Critic Score
    The Covenant
    Cobbled-together teenybopper tripe.
  87. Fur: An Imaginary Portrait of Diane Arbus
    Shainberg reduces this most disturbing of all photographers to a portraitist of Halloween.
    • 28 Metascore
    • 16 Critic Score
    Happily N'Ever After
    Stuffed with stock characters -- the vain prince, the critter sidekicks -- who adamantly stay stock.
  89. The Abandoned
    The gimmick in The Abandoned is that people battle their zombie doubles, whom they can't kill, since they'd be killing themselves. But the movie sinks so deep into deathly atmosphere that there's no life to it.
  90. Delta Farce
    Here's a sobering thought: If every war gets the comedy it deserves, could Delta Farce, a strenuously unfunny "Three Amigos" knockoff, be our M*A*S*H?
  91. Angel-A
    Angel-A shows how director Luc Besson can be French in a way that even the French might despise...Quel ick. And très tedious.
  92. The Boy in the Striped Pajamas
    An appalling, jaw-dropping movie that will cause serious nightmares.
  93. Delgo
    Too grim for kids and too dumb for grown-ups.
  94. The Uninvited
    Horror standbys like mangled corpses and stone-faced children pop up regularly, but sibling directors Charles and Thomas Guard haven't quite nailed the genre's rhythms.
  95. Street Fighter: The Legend of Chun-Li
    Don't be fooled by the low grade: This sequel-in-spirit to Jean-Claude Van Damme's 1994 dud doesn't even succeed in being memorably bad.
  96. Gentlemen Broncos
    The audience may have bought the act in "Napoleon Dynamite." But this time, the act bombs.
  97. Case 39
    An aggressively inept demon-seed chiller starring a bunch of grown-ups who should've known better.
  98. 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.''
  99. The Forsaken
    While it's rarely scary, the film is often gory.
    • 24 Metascore
    • 16 Critic Score
    The Suburbans
    By appearing in The Suburbans, a stunningly laugh-free comedy, (Jennifer Love Hewitt)'s already gotten her career-worst movie out of the way.
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