Entertainment Weekly's Scores

Select another publication »
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
view
per page
  1. The Laundromat
    If a motley crew of movie stars is what it takes to shine more light on government malfeasance, then let Meryl carry that torch in a wig and a bucket hat. But as a pure movie-going experience, it’s all kind of a wash.
  2. The Zookeeper's Wife
    Even at its most engaging (those cubs!), Zookeeper can’t help evoking the dozens of films that have told these stories before, and better.
  3. The Woman in the Fifth
    Heavy on mood and murk.
  4. The World Is Not Enough
    The hero himself has been denatured for a young, late 1990s audience with little appreciation for real suavity or sex play.
  5. The Disappearance of Eleanor Rigby: Them
    Disappearance is worth watching for Chastain's fierce performance as a woman swallowed up by bone-deep grief. If we can feel exactly what Eleanor is feeling, maybe we're not so alone after all.
  6. A Woman, a Gun and a Noodle Shop
    I wish I could say that the film is half as intriguing as it sounds, but A Woman, a Gun... lacks the Coen brothers' precision, their diabolical game-board cleverness. It's a remake in shaggy outline only.
  7. Flicka
    As for our heroine (Lohman), her archetypal struggle with crusty Pa (uncrusty Tim McGraw) feels attitude-heavy and life-lesson-light.
  8. Bram Stoker's Dracula
    The director has dressed up a classic tale in mesmerizing visual overkill without coming close to its dark heart. [13 Nov 1992, p. 56]
    • Entertainment Weekly
  9. Mifune's Last Song
    As loose and restful as pajamas.
  10. Lisa Picard Is Famous
    It's not every comedy that can make you laugh with ridicule and cringe in empathetic horror at the same time.
  11. Spy Kids 3-D: Game Over
    It's ''The Matrix'' meets ''TRON'' meets ''Jimmy Neutron,'' with all the cheery (if not cheesy) evanescence of a Jolly Rancher commercial. I mean that as a compliment.
  12. The Intouchables
    The power dynamic may charm the French, but it's likely to push the cringe buttons of local moviegoers in Obama's post-"The Green Mile America." Apart from the wince-inducing moments, The Intouchables is often a pleasant buddy picture.
  13. Thor
    It's not art, but it's mighty fun.
  14. Permanent Midnight
    Permanent Midnight never shows us who Jerry Stahl was before he began shooting junk, and so we have no real stake in what the drugs did to him. He’s a case study in search of a movie.
  15. Body of Lies
    Most of this just seems, you know, so three years ago, so "Bourne" again.
  16. The Wedding Guest
    The phrase “low-key thriller” might be an oxymoron, but it also feels like the best description of The Wedding Guest.
  17. Towelhead
    As it becomes clear that Ball, in essence, has just restaged American Beauty with a socially conscious paint job, the sensationalism of Towelhead looks more and more like a dramatic tic.
  18. Antlers
    For all its eerie scene-setting and squishy entrails, Antlers never really exposes the emotional guts of its narrative beyond the scope of midnight-movie horror; without that, it's just another nightmare fairytale leaning hard on heavy vibes and jump scares, and losing the forest for the trees.
  19. 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.
  20. The Groomsmen
    Every actor registers...In a film of minor ambition, they're all worthy company.
  21. Bite
    It seems to exist merely to spoil your appetite.
  22. Adult Beginners
    There aren’t enough laughs here to goose it past formulaic. It’s harmless and mild and likable, but it’s also a toothless comedy that should have had some bite.
  23. Scent of a Woman
    In the end, Scent of a Woman offers little more than lumbering simulation of Rain Man's nimble magic. But Pacino's performance-scabrous, tender, ripely theatrical-is a master showman's trick.
  24. Little Buddha
    You hardly need to be devoted to the ways of Buddhism to see when a gifted filmmaker, for the sake of multicultural niceness, has enthusiastically abandoned his mind.
  25. Happy Endings
    There are pleasing outcomes for almost everyone in Happy Endings, and that's not good news.
  26. The Missing Person
    Overly fussy and self-conscious in its noir details. But in The Missing Person, Buschel makes striking use of the Mike Hammer/Philip Marlowe tradition.
  27. Kodachrome
    Kodachrome isn’t a bad movie, it just never for a moment feels like a real one: A road-trip dramedy so schematic and loaded for emotional bear it feels like it was generated by a Sundance screenwriting app.
  28. Encounter
    Riz Ahmed takes Encounter a long way. But he can't single-handedly carry a film that never quite figures out what it wants to be — stark sci-fi paranoia? Psychological family drama? Desert road-trip apocalypse?
  29. The Boys Are Back
    With those piercing eyes, Owen makes a lovely, soulful Joe, of course. But it's not the nice papa we want to understand here, it's the unapologetically naughty one.
    • 57 Metascore
    • 75 Critic Score
    The Red Violin
    Carefully crafted, lushly romantic.
Page:

Top Trailers

See all »
See all trailers »