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 Expendables 2
    What a fun-dumb relief! In the isolationist Expendables world, all foreigners are bad news. All buddy bonding is done with a wink. All pretenses of art are checked at the door. Someone even says, ''I'll be back.'' (Guess who?)
  2. Star Trek: Nemesis
    A little bit obsessed with replication.
  3. Birth
    When Kidman slithers into a bathtub with her young ''husband,'' the scene, in its soft-pedaled way, is the definition of exploitation: It appears to have been cooked up for no other purpose than to conjure creepy child-porn overtones.
  4. Meet Monica Velour
    The role of a former star of the "golden age" of porn sounds perfect for Kim Cattrall, and she handles it nicely - at least, in the rare moments when this indie comedy isn't terminally contrived.
    • 51 Metascore
    • 75 Critic Score
    The Call
    Surprisingly good, and surprisingly gruesome, fun.
  6. Going the Distance
    Going the Distance may be a minor movie, but it's also the rare romantic comedy in which you can actually believe what you're seeing.
  7. Mike and Dave Need Wedding Dates
    Efron and Devine are an endearingly loony duo, and as much as Plaza and Kendrick never quite sell their vixen shtick, the supporting cast is wickedly stacked. It’s like riding a roller coaster fueled by Red Bull and grain alcohol: kind of gross but pretty fun, too.
  8. Lucía, Lucía
    Anxiety is a fair response to a midlife crisis, but that hardly means that we want to see the heroine of a movie spend scene after scene trapped in a nervous dither of indecision. That's exactly what happens in Lucia, Lucia.
  9. The Brown Bunny
    It's hard to deny that Gallo has caught the freedom and melancholy, the intoxicating aimlessness, the lonely twilight beauty of a solo road trip in a way that no previous filmmaker quite has.
  10. Ellie Parker
    Coffey, a tart comic mind who should cast his net farther from the 405, pads his story with more and more familiar degradations, and Watts plays each one to the hilt.
  11. Papillon
    As for the new Papillon, it wisely doubles down on high adventure, but it’s still as lifeless as its predecessor. Just in different ways.
  12. Day Shift
    Shift looks and feels low-budget, from its slapdash effects to its sketched-in script, though that also feels like kind of the point: It might be bright daylight, but it's always midnight-movie time somewhere.
  13. Diary of a Wimpy Kid 2: Rodrick Rules
    Nothing is new, which is a problem. Nothing is particularly funny or endearing, which is a worse problem.
    • 51 Metascore
    • 50 Critic Score
    The Night Listener
    Is The Night Listener a wintry drama with a few schlocky jolts, or an underdone psychological thriller straining for some dramatic heft on the side? Hard to tell, but either way, the movie doesn't cohere.
  15. 21 Bridges
    It’s not a bad setup, and Bridges would be a better movie, easily, if it had let a little more nuance creep into its script. Instead, it lays the task squarely on Boseman’s shoulders — having him fill in all those broad strokes with his own fine lines, and spraying bullets and mayhem across the rest.
  16. Lovelace
    Seyfried works hard for your empathy, with the same naïveté that helped secure Boreman's rep as the ''sexy Raggedy Ann.'' And Sarsgaard is perfect for this role, oozing '70s sleaze in all its mustache-smoothing glory. But even they can't add depth to this sad story.
  17. Marry Me
    It's all cream puff, a featherweight fairytale too shiny and mild to attempt the better movie about midlife romance and second chances that might have been.
  18. Hardcore Henry
    A hypercaffeinated first-person action flick that teeters somewhere between gonzo insanity and a nausea-inducing endurance test.
  19. John Carter
    Nothing in John Carter really works, since everything in the movie has been done so many times before, and so much better.
  20. Mulholland Falls
    This is Chinatown for chowderheads.
  21. Taken
    Propulsively outandish thriller.
  22. My Sister's Keeper
    Their message (Cassavetes and screenwriter Jeremy Leven) in My Sister's Keeper? Cancer sucks, but there's always the balm of beach scenes and an emo soundtrack.
  23. Step Brothers
    Step Brothers is a Judd Apatow production and it's the closest that the Apatow factory has come to spitting out a dumb-and-dumber high-concept comedy.
  24. Anonymous
    Thumpingly silly yet self-serious period-piece what-if.
  25. Jack Reacher
    That Cruise fails to make a case for Reacher's allure, though, has less to do with physical dissonance than it does with the film's inability - stupefying inability, really - to otherwise make a case for the character's originality in a movie so choked with visual clichés and dreadfully moldy dialogue.
  26. Romeo Is Bleeding
    Romeo Is Bleeding just ends up flaunting its Grand Guignol outrageousness, rubbing our noses in its desire to be a gaudy hipster freak show. By the end, the film has become so mired in pointless sensation that it ceases to be any fun at all.
  27. The Cut
    Despite a trio of knockout performances, The Cut is a lackluster boxing drama.
  28. Super
    It's really a one-joke movie, but the joke is a good one.
    • 50 Metascore
    • 75 Critic Score
    SLC Punk!
    For a while, angry young Stevo (Lillard) turns his quest for total anarchy into a grungy, giddy, randomly violent rave. Then reality creeps up and, well, it bites.
  30. The Saint
    Top-heavy with whimsy, so muddled it makes Mission: Impossible look like a model of narrative cohesion, The Saint is the apo-theosis of the new incoherence, with the cliches of espionage and action thrillers jammed together like bumper cars.
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