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. Waterworld
    Costner's surfer-bum affectlessness works here; he turns the Mariner into the world's most jaded lifeguard.
  2. Return to Paradise
    Return to Paradise is "Midnight Express" remade from the outside, as existential quandary. It has the moody, disquieting undertow of a true moral thriller.
  3. Posse
    Westerns, even offbeat ones, demand a lean clarity that Van Peebles, at this point, lacks the discipline to establish.
    • 56 Metascore
    • 58 Critic Score
    Transporter 2
    The greatest thing about the movie is Statham, a charismatic silent, deadly type who deserves to take the wheel behind a better franchise.
  5. Million Dollar Arm
    It's the latest male weepie cast from the same Disney mold as "The Rookie and "Miracle," and it's essentially "Jerry Maguire Goes to Mumbai."
  6. Mimic
    A stylish B horror movie about giant insects in the catacombs of Manhattan, it's by turns queasy, gross, terrifying, and -- never underestimate this one -- enthusiastically dumb. It's everything you want in a big-bug thriller.
  7. American Violet
    An artlessly powerful performance by newcomer Nicole Behaire anchors American Violet.
  8. God Bless America
    Bobcat Goldthwait's new movie is a burlesque that turns into a harangue that turns into a rampage.
  9. Tiger Eyes
    Best to forget the movie version exists and keep your happy childhood memories intact.
  10. Religulous
    He's a bombs-away provocateur, and in Religulous, Maher's blasphemous detonation of all things holy and scriptural, he doesn't really pretend to play fair. He's like Lenny Bruce with an inquiring mind and a video camera.
  11. Jumping the Broom
    You'll laugh - a lot - but you'll also shed tears of recognition at this funny, salty, strife-torn look at the agony and ecstasy of family.
  12. The Family Stone
    Parker has a great time being the anti–Carrie Bradshaw while Keaton-as-matriarch is a particular joy -- funny, beautiful, elegant, touching, and at ease with a familiar, get-out-your-hankies holiday subplot.
  13. The Glass Castle
    Too much of the plot is spun with vanilla, especially tacked-on scenes of Walls’ starched careerist life in New York City with her Banker Boyfriend (Max Greenfield), presumably to engineer more screen time for the lead actress.
  14. Genius
    The movie — dutifully shot in shades of old-timey sepia — does get better as its staginess falls away, but far too much drama stays on the page.
  15. The Crazies
    Here's what I can say for sure about the humanoid attackers in the new version of The Crazies: They're not very interesting.
  16. Ibiza
    More than anything, the film feels a bit like a trial balloon for the relative star power of Jacobs, who’s been promoted from best friend to headliner here.
  17. Adam
    It's hard to buy this relationship even for a moment. Adam is sweet, meticulous, and, at times, sort of clever, but it's also a not-quite-surprising-enough heartwarming trifle.
  18. The Unknown Woman
    Russian-born Xenia Rappoport gives it her tragic-heroine all as an abused Ukraine prostitute-turned-sneaky housemaid in Italy in The Unknown Woman.
  19. Cabin Fever
    A big, dumb, crude, noisy, goose-the-audience bash and proud of it. It's not nearly as unsettling as ''28 Days Later.''
  20. I'll Sleep When I'm Dead
    The film is held together by Clive Owen, who spends most of his time on screen hidden beneath matted hair and a scruffy beard but still has more aura than any actor around.
  21. Radioactive
    A film whose big ideas strain against the staid outlines of traditional screen storytelling — though budget alone can't be blamed for its odd jumps and tonal twists, from earnest biography to magical realism and back again.
    • 56 Metascore
    • 91 Critic Score
    How the West Was Won
    Despite wooden performances, the final feature filmed in true Cinerama is great fun and holds a wiiiiiide spot in cineasts’ hearts.
  23. Race
    Credit Race for showcasing its hero’s human flaws, but the movie unfortunately lets him get away with them a little too easily (his grand makeup gesture to Ruth comes off more creepy than romantic).
  24. On the Road
    What Salles doesn't conjure is the rapture of Kerouac's bohemian romanticism. Without it, On the Road is a remote experience, all reason and no rhyme.
  25. The Indian Runner
    Though the movie is sometimes too mannered (during one unaccountable stretch, Penn suddenly turns into Diane Arbus and peppers the screen with small-town grotesques), it has an accomplished rhythmic flow, a sense of people’s destinies unfolding step by step.
  26. The Details
    Tobey Maguire's characteristic placidity makes a fine mask for a man who is thoroughly awful.
  27. Nightbitch
    It is piercingly honest, remarkably sardonic, and breathtakingly brave in the way it lays bare some of women's deepest struggles and truths. But it is not a film that is anti-motherhood. It celebrates it as well, in all of its primal, animalistic, savage contradictions and complexities.
  28. Watchmen
    Even Watchmen fanatics may be doomed to a disappointment that results from trying to stay THIS faithful to a comic book.
  29. The Chorus
    The movie is rotten the way that only a denatured made-for-export slice of Gallic nostalgia can be.
  30. Deadpool & Wolverine
    The movie is two hours of cheap jokes, culminating in the world’s biggest Family Guy episode. It tries so hard to be clever, it just ends up being cringe.
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