Entertainment Weekly's Scores

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For 7,798 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 2.1 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 7798
  2. Mixed: 2,080 out of 7798
  3. Negative: 760 out of 7798
7798 movie reviews
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  1. The Order
    The film is also a chilling slice of historical memory in the ways it studies one of the earliest iterations of the version of white nationalism currently insinuating itself into American politics — and its haunting understanding of the insidious creep of such beliefs.
  2. Better Man
    Better Man is beautifully emotional and engaging, and it’s an admirably big swing. But it would have a greater shot at making audiences go ape if the primate concept were used more judiciously.
  3. How to Train Your Dragon
    There’s honestly no real reason for this iteration to exist. At least, though, it doesn’t cheapen its source material, trusting in the good (dragon) bones that have always been there.
  4. Sommersby
    If Sommersby is finally more pleasant than exciting, that may be because its post-Civil War setting robs the story of much of its exoticism.
  5. G20
    If you do not find yourself hootin’ and hollerin’ at Viola Davis — excuse me, President Viola Davis — packing automatic weapons, tossing grenades, and charging into a helicopter, well, your loyalty to good, idiotic fun might be questioned.
  6. Key Largo
    Key Largo is heaps of fun if you’re willing to go along for the ride, but perhaps slightly more silly than audiences might expect (or creators intend).
  7. The Accountant 2
    The ludicrousness on display here is enormous.
    • 71 Metascore
    • 75 Critic Score
    Blackmail
    The director's most literal signature elements are almost all on display in his first talkie — dizzying camerawork, endless staircases, and fast-paced chase scenes make the movie's best moments distinctly engaging.
    • 70 Metascore
    • 75 Critic Score
    Murder!
    After the introduction of the titular crime and a proto-12 Angry Men jury scene, the film becomes a playful meta-commentary on the inherent silliness of watching actors go through the motions of detective work, with numerous charming visual embellishments.
    • 77 Metascore
    • 75 Critic Score
    Young and Innocent
    One of Hitchcock's lighter thrillers, Young and Innocent is a straightforward wrong-man film elevated by the chemistry of its leads, Derrick De Marney as fugitive and Nova Pilbeam as a young woman roped into his antics. Despite being relatively underwritten, their romantic dynamic crackles as the two easily find the comedy in every scenario without undermining the dramatic tension.
  11. Straw
    Straw is not exactly subtle, but the emotions are so raw and the performances are so earnest that you’ve really got to have a heart of stone not to care for these people.
  12. Sherlock Holmes
    Sherlock Holmes is an odd amalgam, a top-heavy light entertainment that keeps throwing things at you and doesn't seem too concerned with whether they stick.
  13. The Imaginarium of Doctor Parnassus
    As is so often the case since his "Monty Python" days, Gilliam is best at visual games and weakest at storytelling.
  14. The White Ribbon
    Shot in vivid black and white, the movie is like "Village of the Damned" directed by Ingmar Bergman, only without Bergman's intensity.
  15. The Road
    There's enough foreboding in America right now to make sitting through a movie such as The Road seem like one more heavy burden that, frankly, no one needs.
  16. It's Complicated
    It's Complicated is middle-aged porn, the specialty of Meyers, who also set ladies and interior decorators drooling over homes and gardens in 2006's “The Holiday.”
  17. Leap Year
    Leap Year could have used more pizzazz.
  18. Moon
    The double role suits Rockwell perfectly -- in fact, it suits him a little too well.
  19. The Girl on the Train
    Téchiné has made a half-captivating, half-baffling tease of a movie in which one woman's destructive whim has the effect of making anti-Semitism look like a myth. It's a distortion that Téchiné, with a passivity bordering on perversity, does nothing to dispel.
  20. Cloudy with a Chance of Meatballs
    Goes down easy enough at first. But even at a svelte 81 minutes, this meal drags on too long.
  21. Me and Orson Welles
    Has so little fire that Welles himself would have wondered out loud what he was doing stuck in the middle of it.
  22. Couples Retreat
    Thanks to Vaughn, Favreau, and the stray sharp lines that pop out of everyone else, the film at least offers the lively sound of egos that still know how to swing.
  23. Public Enemies
    As filmmaker Michael Mann takes pains to emphasize in his handsome, underheated gangster drama Public Enemies, the gent may have been murderous, but he had style.
  24. A Perfect Getaway
    Steve Zahn makes full use of the many varieties of hyper in his acting arsenal, while Timothy Olyphant has a heckuva good time telegraphing macho mania.
  25. The Time Traveler's Wife
    Bana and McAdams are sweet together, with matching dimples and starry eyes, and we grow eager to see them remain in the same place. In the end, that's all there is to the movie, really. It's a time-travel fantasy in search of a cozy love seat.
  26. Watchmen
    Even Watchmen fanatics may be doomed to a disappointment that results from trying to stay THIS faithful to a comic book.
  27. Terminator Salvation
    It's basically a zombie movie with machines instead of the walking dead.
  28. Life Is Beautiful
    Starts out as sentimental whimsy and ends as sentimental kitsch.
  29. Sin Nombre
    Whenever Sin Nombre turns violent, it seizes you with its convulsive skill, but the film's images vastly outstrip its imagination.
  30. Away We Go
    A gilded entry in the cinema du quirk. It's a movie that invites you, all too often, to feel superior to the people on screen.
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