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. Girl, Interrupted
    Shrewd, tough, and lively -- a junior-league "One Flew Over the Cuckoo's Nest."
  2. The Net
    The Net is an efficient, workmanlike thriller that, at its best, does a canny job of exploiting the more fanciful edges of computer-age dread.
  3. Six Days Seven Nights
    It's no accident that portions of Six Days mildly echo some of Ford's most popular films, from "Raiders of the Lost Ark" to "Working Girl."
  4. The Baxter
    "The Station Agent's" Peter Dinklage provides diversion as a gay wedding planner.
    • 51 Metascore
    • 42 Critic Score
    Number 17
    The story is practically impossible to follow, the direction is imprecise, and the whole thing is visually dizzying.
  6. The Man with the Iron Fists
    The movie wants to be deadly cool, but mostly it's just deadly.
  7. Love
    The big draw should be 3-D, which enhances the visual intimacy, though only in shooting a male orgasm does Noé go gonzo with the format.
  8. Mighty Joe Young
    Neat as Joe looks, you do wish that someone had bothered to give him a personality.
    • 51 Metascore
    • 42 Critic Score
    The Farmer's Wife
    It's technically competent but narratively sparse, with no humor or sense of urgency. Every scene feels as though it's 30 minutes long, which doesn't help its already lengthy runtime for a silent feature, with the latest restoration clocking in at almost two hours.
  10. Jack the Giant Slayer
    This is how a fairy-tale movie gives us our money's worth today. Even if once upon a time, it was called overkill.
  11. Death at a Funeral
    Reveling in mess and homegrown multiracial mayhem, Death at a Funeral finds a new lease on life.
  12. Valerian and the City of a Thousand Planets
    During the film’s intoxicating first 30 minutes, for example, I couldn’t decide whether what I was watching was brilliantly bonkers or total folly. Then, as the story went on, it came into sharper and sharper focus: Valerian is an epic mess.
  13. Desierto
    A classed-up B-movie riff on "The Most Dangerous Game." Call it “Tex-Mexploitation.”
    • 51 Metascore
    • 67 Critic Score
    Wild Bill
    While Hill’s hallucinatory script — adapted from a novel and a play — is about the dangers of fostering your own myth, the movie fawns over its character’s legend rather than aiming for his murky reality.
  15. Asylum
    Nothing wrecks the mood of a high-toned British period piece about erotic obsession quicker than an unintentional laugh. In which case, prepare for Asylum to be derailed by snorts in all the wrong places.
  16. Bird Box
    As Bird time-jumps between the claustrophobic action of the house and a desperate sort of jailbreak, director Susanne Bier (The Night Manager) keeps the mood taut and defiantly in the moment.
    • 51 Metascore
    • 67 Critic Score
    Birthday Girl
    If British writer-director Jez Butterworth had let his sophomore picture get as dirty as Kidman's game recklessness invited -- she started this before ''Moulin Rouge'' and ''The Others'' -- he would have served up a tasty piece of cake.
  18. Le divorce
    I'm disappointed to report that Hudson and Watts have no chemistry as sisters, perhaps because Watts never seems like the expatriate artiste she's supposed to be playing.
  19. My Best Friend's Wedding
    And when [Roberts is] on screen with Mulroney, who seems a frat-house jerk -- all dimples and a perma-tan -- we don't feel much of anything.
    • 51 Metascore
    • 42 Reviewed by
      Ty Burr
    The Pelican Brief
    Pakula insists that The Pelican Brief is haute cuisine, and the seriousness nearly wrecks it.
  21. Mamma Mia!
    It's tempting to say that Mamma Mia! has the worst choreography of any big-screen musical in history, though that would imply that what happens in the film IS choreography.
  22. Think Like a Man
    Think Like a Man is so busy tracking courtship as if it were a science project that the bite-size love stories lack spontaneity.
  23. Teenage Mutant Ninja Turtles
    When a kids’ flick has nothing to offer but cute special effects, it’s easy to think the filmmakers are patting themselves on the backs for their technical ingenuity. That’s not comic fantasy — that’s marketing.
  24. Snitch
    The film tries to paint in shades of gray with vague criticisms of the war on drugs, but the absurdity of its he-man Everyman plot ends up turning its moral palette a muddy brown.
  25. Project Power
    For all the patently corny bits and some 17 attempts at an ending, Power still somehow makes it easy to suspend your disbelief and your imaginary degree in biochemistry, and just let it ride.
  26. She's All That
    The two stars are like cool kids pretending to be tortured poets pretending to be cool. Neither can match the screen presence — the shameless self-infatuated ebullience — of Matthew Lillard, who does a wickedly grotesque turn as Brock Hudson, a kind of goggle-eyed Puck manqué in the film's dead-on send-up of "The Real World."
  27. Skyscraper
    No one churns out big-budget action mediocrity these days as regularly as Dwayne Johnson. So now, just three months after his giant gorilla-a-go-go Rampage, we have Skyscraper — a film that suggests what would happen if you took The Towering Inferno and Die Hard and stripped them of the qualities that made both work.
  28. Aquamarine
    That everything gets worked out -- friendship affirmed, jokes made about silly magazine articles on reeling in a boy -- is as sure as the soundtrack's inclusion of a Mandy Moore song.
  29. My Date with Drew
    Stupefyingly tedious and annoying.
  30. God's Pocket
    In one of his final roles, Philip Seymour Hoffman stars as a man whose no-good stepson is killed on a construction job, while John Turturro, Richard Jenkins, and Christina Hendricks round out a formidable cast that isn’t given much to work with.
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