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. Dead Man's Shoes
    The imagery is exotically grungy and jumbled by flashback, but in the end, the picture's more pulp than juice.
  2. X-Men: Apocalypse
    Apocalypse feels like a confused, kitchen-sink mess with a half dozen too many characters, a villain who amounts to a big blue nothing, and a narrative that’s so choppy and poorly cut together that it feels like you’re watching a flipbook instead of a movie.
  3. The Monuments Men
    The Monuments Men sounds like a what's-not-to-like? movie, but it turns out to be a bizarre failure.
  4. The International
    There's something almost endearingly out of sync about the sleek but now dated Euro-thriller The International.
  5. Betsy's Wedding
    The film gently sends up the messiness of modern matrimony, and Alda has assembled an appealing group of actors and given them plenty of breathing room.
  6. Rudderless
    An ill-judged twist pitches the story sideways, but Crudup's performance holds the center. His pain isn't soggy or showy; it just feels true.
  7. The Producers
    The accountant in Bloom would probably approve of the new Producers: It's an efficient extension of a popular brand. In theory, what's not to like? In reality, the whole schmear.
  8. Nacho Libre
    You can see what the film was going for, but the jokes just sit there; you chuckle a few times, mostly out of lame hope, but you never bust a gut, never really get what you came for.
  9. Triple 9
    The most impressive thing about Triple 9 is that it somehow manages to be both predictable and incoherent at the same time. Well, that and the fact that it manages to make half a dozen good actors look really lost.
  10. Everything, Everything
    Director Stella Meghie sidesteps the pitfalls of your typical YA movie, delivering a gorgeous and sweet story that you can’t help but fall in love with.
  11. The Object of My Affection
    So riddled with cultural stereotypes, woe-is-me neurotic mopiness, and glib therapeutic compassion that by the end all it leaves you with is a waxy buildup of falseness.
  12. Epic
    Epic isn't quite destined for the “Again, again!” re-watchability of some of the Pixar classics, but for a satisfying explosion of color on a lazy summer day, it does the trick.
  13. Shirley Valentine
    Talented actors stumbling through clichéd plot twists (Shirley’s nemeses actually envy her), flat one-liners (”Marriage is like the Middle East — there’s no solution”), and pithy self-affirmations (”I’ve fallen in love with the idea of living”) that undermine any genuine feminist sentiments.
  14. Romeo Must Die
    Doesn't take advantage of its own possibilities, either as a hard-boiled gangland battle or as a soft-boiled, interracial Shakespearean love story.
  15. Rat Race
    The easygoing silliness with which this late-summer movie surprise scuttles from mayhem to mayhem and the verve with which the cast throws itself into the fray are so cheering and liberating.
  16. Snake Eyes
    Has Brian De Palma finally lost his mind? Ever since "Carrie" (1976), his one true masterpiece, this director has evolved into a cinematic serial killer of common sense.
  17. Win a Date with Tad Hamilton!
    May find an audience, but I found it to be a leftover John Hughes triangle.
  18. Blow
    Carries little in the way of passion or revelatory charge.
  19. Under the Tuscan Sun
    The author was able to compensate for the book's plotlessness by contemplating other people leading full lives quite as important as hers. In Wells' movie adaptation, even the birth of a friend's baby becomes all about Frances and the play of emotions on Lane's busy, beautiful face.
  20. The Nines
    John August directs it briskly, as a gossip-era "Twilight Zone" of image and reality.
  21. The Frighteners
    The Frighteners is also that rare horror film that actually gets better as it proceeds; this scare machine has a heart and a brain.
  22. Safe House
    Compared with a superior potboiler like "Salt," which messed with your brain in entertainingly far-fetched ways, Safe House is action-movie porridge gussied up into a less-clever-than-it-seems mystery.
  23. Janie Jones
    With Ethan and Janie sharing folkie duets, it has a certain small, wan charm, like a father-daughter gloss on "Once." Breslin is a clear-eyed delight.
  24. Peeples
    Director Tina Gordon Chism keeps the innocuous class-meets-crass jokes bubbling, and the actors are amiable, but Peeples often seems to want to turn these characters into benignly goofy role models. Maybe that's why the basic comic collision never explodes.
  25. Labor Day
    With his latest film, the mawkish and melodramatic Labor Day, Reitman has done an unexpected about-face: He's ditched Wilder for Douglas Sirk. And the swap doesn't do him — or his fans — any favors.
  26. The Interview
    It's a pity that the film is bereft of satiric zing, bludgeoning the laughs with a nonstop sledgehammer of bro humor.
  27. RoboCop
    The film has lots of energized mayhem, and Murphy's unraveling of the conspiracy against him isn't dumbed down, yet it's as if the comic-book action poetry of the original has been encased in a suit of generic armor.
  28. Saint Laurent
    Actor Ulliel, who’s been the face of both Chanel and Hannibal Lecter (in 2007’s Hannibal Rising), knows how to slither. His version of Yves is spoiled, insecure, cruel—and, in the movie’s ironic final shot, tickled to death that we still seem to care about him.
  29. Beautiful Creatures
    Beautiful Creatures, more than the "Twilight" films, lacks danger and momentum. The audience, like Ethan, spends way too much time waiting around for Lena to learn whether she's a good girl or a bad girl.
  30. Chantilly Lace
    Given a wealth of acting talent and the freedom to improvise its way past the cliches that hobble so many films by and about women, Chantilly Lace ends up a cliche anyway: a manipulative tearjerker.
Page:

Top Trailers

See all »
See all trailers »