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. Ice Age: Continental Drift
    The film keeps throwing things at you, like a colorful ape pirate (Peter Dinklage) and a fun hallucination sequence. That said, the laughs are starting to feel prehistoric.
  2. Gladiator
    The fight scenes are vicious, demagogic, and thoroughly exciting.
  3. Hancock
    Hancock can revel in schmuckery, of course, because you and I and cute kids and peaceful oldies worldwide know in advance that there's no way on Hollywood's green earth Will Smith will ever play someone seriously, dangerously unsavory.
  4. Mack & Rita
    Keaton seems to be having a ball with her pratfalls too, though you wish it wasn't all played so silly and flat-out conventional in the end: new broad, old tricks.
  5. Antichrist
    The trouble is, it's all too exhibitionistic to ring true. The impotent folly of Antichrist is that von Trier has made it his mission to shock the bourgeoisie in an era when they can no longer be shocked.
  6. Bullet Train
    Leitch embarks on a series of adrenalized set pieces that defy logic and physics so breezily that its relentless, ridiculous violence plays more like a winsome ballet.
  7. Four Brothers
    Because the script, riddled with verbal ugliness by David Elliot and Paul Lovett, sends the movie to a series of arbitrary nowheres, the final showdown for the Mercer boys and their enemies is just as meaningless and sense-deadening.
  8. Sleuth
    It's like "Deathtrap" crossed with "Cribs" as staged by Stanley Kubrick.
  9. Amsterdam
    The production and costume design are, unsurprisingly, impeccable. But the resolution of the central mystery is both rushed and obtuse, and it all unfolds in a frenetic, flailing whirl of pomp and nonsense that Amsterdam's strange circuitous journey and almost embarrassing surplus of stars never quite justifies: a whirring music-box curiosity in search of some elusive purpose, and a point.
  10. Inventing the Abbotts
    The only real heat among the group comes from Jennifer Connelly, who, as the bad-girl middle daughter, raises the stakes any time she's on screen.
  11. Mars Needs Moms
    The movie is also visually magnificent - modestly so. Plus, it's half the length of "Avatar."
  12. Flannel Pajamas
    The hero remains such an exhibitionistically cocky, walled-off jerk that Flannel Pajamas' glib conversational ''candor'' yields no mystery. And that's a problem in two hours of talk.
  13. Kalifornia
    It's like a film-school thesis gone disastrously wrong.
  14. Downhill
    As an attempt to scale the craggy heights of a marriage in crisis, Downhill may be more bunny slope than black diamond — a force mineure, but still worth the trip.
  15. Harrison's Flowers
    A chintzy melodrama gussied up as hair-trigger combat ''reality,'' but there's no denying the vividness with which the French cowriter-director Elie Chouraqui has visualized the chaos of Croatia.
  16. Harvard Man
    A characteristically engorged and sloppy coming-of-age movie from the filmmaker (''Harvard '66'') who, in his body of work, indulges his fantasies as fetishistically as other men finger their cigars.
    • 49 Metascore
    • 42 Critic Score
    Bedazzled
    A little more script work, at the very least, should have gone into the manufacture of the black comedy Bedazzled.
  18. Words and Pictures
    It’s a rom-com setup lamer than anything in the Barrymore-Sandler canon, but Binoche and Owen tackle it like high drama and eke out a few sweet moments.
  19. Mary Shelley's Frankenstein
    Branagh, for all his craftsmanship, hasn’t succeeded in tapping the morbid core of the material, the feeling that Victor Frankenstein’s experiment in creating ”life” is really a mask for his obsession with death (indeed, he can no longer tell the difference).
  20. The Catcher Was a Spy
    Sadly, it isn’t a great movie. It’s a disappointingly mild period thriller that’s light on thrills. Even Paul Rudd, one of the most likable actors in Hollywood, can’t rescue it.
  21. The Vanishing
    [Sluizer's] original, pitch-black ending would have sent people out of the theater giddy with shock; it’s doubtful anyone will remember his new one long enough to tell their friends.
  22. Little
    The script’s second half drifts, going too soft on teachable moments, but Little still finds its loopy sweet spot: Tom Hanks’ "Big" flipped and recast as pure black-girl magic.
  23. Tristan and Isolde
    Working with an explanatory script by Dean Georgaris, Reynolds is much more confident in scenes of realistic battle, or even muddy marketplace dailiness, than he is with scenes of desire.
  24. Texasville
    The Last Picture Show was a mood piece drenched in acrid despair. Texasville is two hours of flat, Southern Gothic whimsy. The movie has the form of a soaper without the juicy content.
  25. Lord of the Flies
    As a novel, Lord of the Flies never was much more than a Brat Pack Heart of Darkness. It’s doubtful a screen version could be any better than this one.
  26. Insidious: The Last Key
    Aside from one gag in particular, the scares lack any real mechanical knack. The one thing the otherwise forgettable film has going for it is Shaye, who over the course of the Insidious quadrilogy has miraculously created a real flesh-and-blood character with Elise.
  27. I Think I Love My Wife
    I Think I Love My Wife has got to be the unlikeliest French New Wave classic ever to be retrofitted by a famous African-American stand-up comedian best known for his stinging social commentary -- at least until Dave Chappelle remakes Jean-Luc Godard's "Breathless" as a hip-hop caper.
  28. Riddick
    At a time when the budgets for sci-fi films are, like the universe itself, expanding at an astronomical rate, Riddick decides to go small.
  29. Cooties
    Neither scary enough to be a horror film nor funny enough to be a comedy.
    • 49 Metascore
    • 25 Reviewed by
      Ty Burr
    Dennis the Menace
    With ”Dennis,” Hughes takes har-de-har brutality to new depths — it’s a movie that seems made specifically to blunt the sensibilities.
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