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 Manson Family
    The film evokes how homicide became the ultimate orgasm for kids who had turned themselves into zombies of flesh.
    • 56 Metascore
    • 67 Critic Score
    Strauss' Great Waltz
    Decently crafted, but somewhat stiff and unremarkable.
  3. Concussion
    Director Peter Landesman, who also helmed last year’s political thriller "Kill the Messenger", doesn’t color much outside the lines of conventional drama. But his straightforward telling actually serves the strong cast and taut script — and a story that would be deemed too outrageous to believe if it wasn’t true.
  4. Edge of Darkness
    His (Gibson) slow-burn fury keeps the movie going, but not enough to invest us in any justice beyond payback.
  5. The Merry Gentleman
    This Debbie Downer of a drama is a bitter slog.
  6. The Beach Bum
    Hard on the heels of January’s god-awful "Serenity," we’re now treated to The Beach Bum — a shambling, self-indulgent inside joke about a perpetually stoned holy fool from the Florida Keys named Moondog. I’ll give you one guess who plays him.
  7. Touchy Feely
    Touchy Feely is minor, but these people are good company.
  8. Dom Hemingway
    If ever there were an actor ripe to ''McConaughnesize'' his career, it's Jude Law — and guess what, he has done it, spectacularly, in Dom Hemingway.
  9. A Jihad for Love
    Noble in intention but crude in execution.
  10. Love Affair
    If An Affair to Remember worked for you, Love Affair may do the same. It resurrects the earlier film’s sodden masochism with meticulous fidelity, right down to the awful final scene, which always felt — and still feels — as if another 20 minutes of movie were yet to come. Then again, what moved viewers in the ’50s seems almost luridly manipulative and unconvincing now.
  11. The Foreigner
    Chan has a bit of Clint Eastwood’s "Unforgiven" aura about him here, with the costs of his violent life visible in the weary lines of his face. I’m not sure anyone has plans to turn this into a franchise, but I certainly want to see more from this Chan-aissance.
  12. Pacific Heights
    You can’t make a good thriller when the most pressing issue is whether the protagonists will have to default on their mortgage payments.
    • 55 Metascore
    • 50 Critic Score
    The Hot Spot
    It's also supposed to be atmospheric, noirish, and touched with nihilism. But the director, Hollywood bad boy Dennis Hopper, lays it all on so thick that the film verges on self-parody.
  14. Prefontaine
    But in this standard athlete-dies-young presentation, we never do catch the magic that made Steve Prefontaine a towering figure. Instead, this Pre is a shaggy-haired, sentimental favorite -- a teen angel rather than an Olympian.
  15. Tie Me Up! Tie Me Down!
    Tie Me Up! Tie Me Down! is seamlessly crafted yet too self-conscious to be much fun.
  16. I'm So Excited
    The actors are charming, but the movie is like a helium balloon with a leak in it.
  17. A Tale of Love and Darkness
    Portman’s evocation of this world has a strange, captivating pull. Assisted by the great Polish cinematographer Slawomir Idziak (Gattaca, Black Hawk Down, The Double Life of Veronique), she has created a visual landscape filled with nightmares.
  18. Back to the Future Part III
    Back to the Future Part III has that same sort of studio back-lot clunkiness. Only this time it's the audience that gets conked — by the sheer desperation of the whole enterprise.
    • 55 Metascore
    • 67 Critic Score
    America's Heart and Soul
    The travelogue cinematography is often gorgeous, and the movie's folks, however hastily presented, are winning.
  20. Series 7: The Contenders
    The murder as entertainment premise of Series 7 is proof that even the blackest of humor is no longer particularly outrageous.
  21. The Terminal
    I didn't mind The Terminal, but I didn't really buy it, either. Spielberg has crafted the film with a proficiency as seamless, and impersonal, as the setting, and you may feel, after a while, that you're longing for your departure time.
  22. Friends with Kids
    The observations about parenthood, pro and con, are quick and smart, and Scott effortlessly steals the show, softening Westfeldt's brittle cuteness.
  23. Man of Steel
    The local multiplex is lousy with celluloid crime fighters. So what turf is left for good old Clark Kent? That's the nagging question that director Zack Snyder's Man of Steel tries — and ultimately fails — to answer.
  24. For a Good Time, Call...
    For a Good Time, Call... tells the tender tale of two roommates who team up to launch a phone-sex line. Whatever their virtues or flaws, each of these movies makes the dirtiest episode of "Sex and the City" look like Doris Day fluff.
  25. A Christmas Carol
    A marvelous and touching yuletide toy of a movie.
  26. Desperado
    The camera loves Banderas -- a velvet stud -- as much as it did the young Clint Eastwood.
  27. Yes
    Parse the philosophy behind the spill of words, though, and you'll find intellectual jumble, junk. Better to nod to Yes as a drowsing chant than take it seriously as a statement of global concerns.
  28. Almost Christmas
    In all, it’s a pleasant enough way to spend two quiet hours with the extended family, but Almost Christmas probably won’t be your next holiday tradition.
  29. Becoming Jane
    Becoming Jane has a burnished feminine sadness, and the director, Julian Jarrold, gives it a creamy-dark visual flow.
  30. Taking Woodstock
    Lee captures the fractious, joyful, monstrously evolving mass it all was.
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