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 Prom
    Some of the songs have charm. The cast is undeniably talented. But ultimately, the film has way too much in common with the egomaniacs at its center: It poses for an undeniably good cause, but its greater purpose is to collect the credit for having done it.
  2. The Lion King
    The story and the songs, with a few notable if hardly unexpected updates, are fondly faithful to the original; the magic mostly intact. Another reboot was never terribly necessary, maybe — but it’s good, still, to be King.
  3. The Secret Life of Pets 2
    As 86-minute kids’ movies go, The Secret Life of Pets 2 is shockingly padded. It’s the same old dogs with no new tricks.
  4. MirrorMask
    This dazzling reverie of a kids-and-adults movie, an unusual collaboration between lord-of-the-cult multimedia artist Dave McKean and king-of-the-comics Neil Gaiman (The Sandman), has something to astonish everyone.
  5. The Astronaut Farmer
    After teeny indies, this studio release retains the trademark love of warped American gothic that the Polishes share with David Lynch and the brothers Ethan and Joel Coen. But the unexpected streak of yearning sunniness -- the Spielbergian touch of boyhood dreams propelling a grown man -- gives The Astronaut Farmer a warmth that's new for them.
  6. Tusk
    Tusk lands close to Human Centipede territory in gross-out-ness — a warning, not a complaint — but it also has a genuinely haunting quality as Long's ties to humanity become ever more tenuous.
  7. Harry Brown
    Part punk-drab British art-house portrait of underclass despair, part bloody vigilante pic, Harry Brown is shakily held together by industrial-strength sound design and the expertly employed theatrics of Michael Caine in the title role.
  8. Screamers
    The film offers true insight into the patterns of war crimes, even if the songs sound disquietingly close to a call to violence.
  9. Invincible
    Half-baked Herzog, though it has twinkles of theatrical purity that remind you of when his vision was grand.
  10. All the Pretty Horses
    McCarthy's rawhide has become movie Naugahyde, a substance unknown in literature or in nature.
  11. Evelyn
    Stephen Rea, Aidan Quinn, and Alan Bates play Desmond's legal eagles, and when joined by Brosnan, the sight of this grandiloquent quartet lolling in pretty Irish settings is a pleasant enough thing, 'tis.
  12. Hearts in Atlantis
    Too poky and contrived to be a good movie, but its lushly serene atmospherics, given current events, make it a pure slice of sentimental comfort food.
    • 55 Metascore
    • 25 Critic Score
    Woman Thou Art Loosed
    Unfortunately, it's impossible to tell from this confused mess (costarring Jakes as himself) what that message is.
  14. Snatch.
    Guy Ritchie's second feature, is a faux tough caper modeled lock, stock, kit, and caboodle on his earlier film ''Lock, Stock and Two Smoking Barrels.''
  15. Godard Mon Amour
    Michel Hazanavicius’ new film, Godard Mon Amour, tackles that period in Godard’s life on and off the screen — and does it in a dismissively light-hearted way that I’m sure the auteur himself loathes.
  16. The Missing
    What's missing in The Missing -- despite throwing in The Everything, from magic trinkets to group hugs -- is soul.
    • 55 Metascore
    • 42 Critic Score
    Romance & Cigarettes
    With Walken around, hair up high, of course there are fleeting moments of fascinating weirdness, but even then, you're still moderately embarrassed for the cast.
  18. Liberal Arts
    Olsen, moody and apple-cheeked and intellectually avid, proves a true star: She turns being wiser than her years into an authentic generational state.
  19. The Last Samurai
    A handsome epic, a brave-hearted 19th-century man-saga from the director who made the period piece man-sagas ''Glory'' and ''Legends of the Fall.''
  20. Baby Mama
    Although the big picture itself gets mushy, the small moments, especially involving Fey, are sharp.
  21. Hostel
    It's obligatory for a horror film to feature exploitative sex as an appetizer, but Roth, even as he fulfills the sleaze imperative, does something shrewder: He mocks his heroes, presenting them as cold-eyed horndog jerks who fail to see that they've wandered into an entire country of exploitation.
    • 55 Metascore
    • 67 Critic Score
    5 Flights Up
    Freeman is funny as a lovable crank, but Keaton’s neurotic performance wears thin.
  23. Anesthesia
    The cast (which includes Glenn Close, Sam Waterston, Kristen Stewart, and Corey Stoll) is strong, but the movie itself is a little exhausting, like a New York cousin to Paul Haggis’ Crash, with a smaller budget and a bigger vocabulary.
  24. Song to Song
    In terms of content and meaningfulness, Terrence Malick’s Song to Song is the cinematic equivalent of a Trump press conference. Incoherent, disconnected, self-interrupting, obsessed with pointless minutiae and crammed full of odd, limp stabs at profundity from a closed-off man in his 70s who apparently has no ability to edit or accept constructive criticism.
  25. Noise
    As a follow-up to his striking 2002 directorial debut, "The Believer," this second obsessive study in fanaticism by writer-director Henry Bean has its own delirious integrity and outsider-art charm.
  26. The Eyes of Tammy Faye
    Comes drawn in bold, broad strokes — a fond treatment of a flawed but fascinating American icon whose revelations feel mostly cosmetic in the end.
  27. Bardo, False Chronicle of a Handful of Truths
    As an all-in-one viewing experience, Bardo is undeniably uneven, often maddening, and seems to have approximately 17 endings. Still, the movie is a marvel in its own way, dotted with pure cinephile delights and small unexpected pockets of profundity.
  28. Pride
    Pride doesn't have much surprise, but it's a formula picture of genuine feeling.
  29. Baby Boy
    What holds the movie together, however, is Gibson's broodingly responsive performance.
  30. Road Trip
    Slick, reasonably amusing, never asking its audience to swallow anything too wild for consumption.
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