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. Mermaids
    In the end, there’s something a little insulting about a contemporary movie that reduces women to either trashy bimbos or repressed virgins.
  2. Lords of Dogtown
    Lords of Dogtown is a docudrama, rare in its grit and authenticity, that also strives for the mythical youth-rebel excitement of something like "8 Mile."
  3. Diary of a Wimpy Kid
    Does a great job of being in two places at once: In the head and gangly bodies of kids, and in the hearts of those of us who have survived grades 6-8.
  4. Focus
    What keeps the film humming along as smoothly as it does is the chemistry and charisma of its leads.
    • 56 Metascore
    • 83 Reviewed by
      Ty Burr
    Blue in the Face
    The improvisations are a mixed bag -- Reed and Fox are surprisingly hilarious, while Roseanne is a shrieking horror show -- but the air of gentle play and a wistful sense that Brooklyn is some kind of lost Eden put this one up on the more structured "Smoke."
  6. Coco Chanel & Igor Stravinsky
    The movie, by Dutch director Jan Kounen, is all surfaces, set pieces, Significant Looks, and voguing -- the same strictures Chanel and Stravinsky sought to bust.
    • 56 Metascore
    • 75 Critic Score
    How to Eat Fried Worms
    Happily, after a cartoon opening-credits sequence that overdoes it on the barf, Worms goes light (but not too light) on the gore and the goo.
  8. Leatherheads
    Reproducing a period-piece screwball comedy for a modern audience turns out to be one playful, self-deprecating wink too many for the star, who also directed Leatherheads.
  9. Paper Towns
    The real joy of Paper Towns is the interplay among Wolff, Abrams, Smith, and eventually Halston Sage and Jaz Sinclair as Margo’s best friend and Radar’s girlfriend.
  10. The Five Senses
    Our senses may be the stuff of drama, but not when they're treated as nice and neat as this.
  11. The Big Kahuna
    That The Big Kahuna is hardly more than a sketch or curtain-raiser is not the fault of the play in itself -- it's short-film size, not feature-worthy.
  12. Cruel Intentions
    Never shocks or even offends by ascribing fully adult cruelties and erotic activities to obnoxious kids; such harshness wouldn't flatter a cast this moussed and magazine-layout-ready.
  13. Once Upon a Time in Mexico
    In its wildly overwrought, burrito-Western way, is about as close to a home movie as you're likely to see in a megaplex.
  14. The Fate of the Furious
    The movie Tokyo-drifts into tedium in its more chaotic, casually gruesome chase scenes, and the “serious” dialogue is so consistently clunky it feels like it’s been carved from woodblocks with a dull butterknife. Thankfully, it’s frequently also much funnier and lighter on its feet than previous outings, and a lot of that credit goes to Statham and Johnson.
  15. Girls Just Want to Have Fun
    No Footloose. But its synthy soundtrack, heated dance-offs, and Day-Glo leg warmers are guilty-pleasure pay dirt. A mouthy 14-year-old Shannen Doherty doesn’t hurt either.
  16. Quick Change
    Quick Change starts out fast and loose — it gets the audience primed for a ripsnorting caper comedy. Yet almost nothing that follows is as clever, as surprising, or as casually anarchic as that nifty opening sequence. Murray himself served as codirector, and though he doesn't do anything terribly wrong, the movie lacks comic zest.
  17. Non-Stop
    Once again Neeson is a straight-faced secret weapon. With his lion's roar and can-do fists, he grounds the film's more preposterous moments and makes them feel excitingly tense. At a certain point either you'll fasten your seat belt and go with Non-Stop's absurd, Looney Tunes logic or you won't.
  18. Extreme Measures
    Apted keeps the speechifying and dramatic poses away from Grant (poor Hackman’s the one forced to say, ”If you could cure cancer by killing one person, wouldn’t that be the brave thing to do?”). And he gives the star room to do clean work without the fussiness that marred Nine Months.
  19. Coastlines
    It's a heartfelt movie that could have used a zigzaggier undercurrent, though Olyphant, in the sort of role that Paul Newman used to swagger through, has a star's easy command.
  20. Midnight in the Garden of Good and Evil
    By the time Midnight in the Garden of Good and Evil is over, it may send more than a few viewers scurrying off to the bookstore. They'll surely want to see what all the fuss was about.
  21. Storks
    There’s a delightfully madcap pace to Storks, and most of the rapid-fire jokes land.
  22. Valkyrie
    The mechanics of the actual plot are pretty amazing. Singer has assembled a top-notch international cast.
  23. Douchebag
    It's a minimalist "Sideways," not so much mumblecore as talkycore.
  24. Don't Be Afraid of the Dark
    Neither colorfully brutal nor especially fun. It's a plodding, derivative gothic potboiler: "The Shining" meets "Coraline," with a touch of "Gremlins" played (boringly) straight.
  25. Date Night
    For this 21st-century Nick and Nora Charles, the flame is kept alive despite his nighttime anti-snore nose strip and her nighttime bite guard -- thanks to a shared appreciation of the hilarity of nose strips and bite guards.
    • 56 Metascore
    • 42 Critic Score
    Driving Lessons
    Linney is too sensitive and capable an actress to play a stock villain like this. That everyone in the movie dislikes her makes you dislike everyone in the movie.
  27. The DUFF
    As misspent of an opportunity as The DUFF may be, it’s hard to completely dismiss a film that gives someone as talented as Whitman her long-overdue spotlight.
  28. French Exit
    There's more to admire than to love in Azazel Jacobs' arch drawing-room comedy, with its surreal styling and arch Wes Anderson-y tics — and something essential lost, maybe, in screenwriter Patrick deWitt's own adaptation of his acclaimed 2018 novel of the same name.
  29. Sylvia
    This is the richest role Paltrow has had since ''Shakespeare in Love,'' and she rises to the challenge. She digs deep into Plath's mercurial nature, giving us a Sylvia who's fiercely independent and alive yet burdened with demons of insecurity that bubble up in a rage.
  30. Anna and the King
    It's a painstakingly correct update of what is, let's face it, one of the least culturally correct love stories ever to be mythologized by Hollywood.
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