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. Spenser Confidential
    Fists will smash; pecs will flex; hard consonants, like dirty cops, don't stand a chance. It's the only sure thing in this crazy world, kids — except maybe a sequel.
  2. Men in Black II
    Some motion pictures portray ultimate passion; others create ultimate thrills. Men in Black II achieves ultimate insignificance -- it's the sci-fi comedy spectacle as Whiffle-Ball epic.
  3. Around the World in 80 Days
    What's new and nutty, though, is the physical comedy of Jackie Chan as Fogg's manservant.
  4. Father of the Bride Part II
    Sure, Martin and Keaton squander their talents on this sentimental piffle, but it's hard to begrudge these two stars a couple of commercial hits. And oh, those adorable babies at the conclusion! The audience I saw Father of the Bride Part II with loved this big, corny, old-fashioned movie; as crowd-pleasers go, it's a shrewd one.
  5. The Black Dahlia
    The film is more than a little in love with the corruption it finds under the floorboards -- and that, of course, is perfectly dandy. I wouldn't trust a film noir that wasn't enthralled by decadence.
    • 49 Metascore
    • 50 Critic Score
    The Ultimate Gift
    Kind of like a feel-good "Saw" for churchgoers, minus the sadistic games of death.
  7. Species
    It doesn’t help that the special effects are second-rate; the squishy primal horror of Alien has been replaced by a kind of mechanized yuckiness. The team of B-movie scientists tracking the monster includes Ben Kingsley doing his over-deliberate American accent, Alfred Molina sporting a haircut that’s scarier than the creature, and Forest Whitaker as an empath so sensitive he can’t let anyone sneeze without making a dewy-eyed psychic pronouncement.
  8. An Unfinished Life
    An Unfinished Life is inert, kaput -- a middlebrow mush of platitudes rather than an okay corral of distinct characters with heartbeats. It's awful not in an exciting, uncontrolled way but in an overly controlled, narcotized way.
  9. Imagine Me & You
    Congratulations are in order for Rachel's sexual awakening, but we might as well applaud the dull girl for falling in love with the nearest bunch of lilies rather than the florist.
  10. Stalingrad
    Stalingrad is a 3-D epic that's one-dimensional.
  11. The Good Night
    The filmmaker's got good taste -- and luck -- in casting.
  12. The Children of Huang Shi
    It's like "Schindler's List" crossed with "The Sound of Music," and Roger Spottiswoode directs it in a stiff, lifeless, utterly dated style of international squareness.
    • 49 Metascore
    • 58 Critic Score
    The Family That Preys
    All over the place:It's a boardroom/family/couples/road-trip story.
    • 49 Metascore
    • 58 Critic Score
    Open Season
    The overfamiliar Open Season feels like just another CG 'toon in our 'toon-glutted times.
  15. Lola Versus
    Gerwig is adorable, but that's both good and bad, as the movie can't stop cuing us to see that Lola's winsomeness will rescue her.
  16. The Promise
    Even lush set pieces and a raft of prestige players (including Shohreh Aghdashloo, James Cromwell, and Jean Reno) can’t fulfill the movie’s pretty, ultimately empty promise.
  17. Me, Myself & Irene
    Every instance of gleeful bad taste is timed and positioned for maximum, liberating laugh value.
  18. Zhou Yu de huo che
    The movie follows convoluted narrative tracks. By the end of the drowsy journey, the characters are indistinguishable from the scenery.
  19. The Thorn in the Heart
    But overall, this lazy, sweet trifle seems to express the banality of well-being.
  20. CB4
    CB4 would like to be a savage hip-hop lampoon, but, in fact, the film strikes a cautious balance between satire and homage. It can’t decide whether it wants to ridicule CB4 or hold the group up as role models. What we’re left with is a soggy catalog of rap cliches.
  21. Despicable Me 3
    What shines through is the visual wit and innate sweetness of the storytelling, and Carell’s cackling, cueball-skulled misanthrope — a (mostly) reformed scoundrel who can still have his cake, and arsenic too.
  22. The Chaperone
    It’s little more than a handsome snooze that even the Masterpiece Theatre crowd may find a bit too snoozy.
  23. Nine
    The numbers, while lively, remain cluttered and stage-bound. The women, however, are spirited and sexy.
  24. The Man in the Iron Mask
    Wallace, unfortunately, writes lazy, anachronistic dialogue, and the picture is abysmally shot (by Peter Suschitzky), with a prosaic, low-budget look that never allows you to experience the enraptured majesty of a fairy-tale historical setting.
  25. 30 Minutes or Less
    There's nothing nice about 30 Minutes or Less. It's got no redeeming social value. It just ticks away, exploding all notions of where you think it's going to go. It blew me sideways.
  26. Resident Evil: The Final Chapter
    The climax makes for a satisfying conclusion to the franchise—an ending which this writer expects, and even hopes, all concerned will studiously ignore when they get around to making the next one.
  27. Venom: Let There Be Carnage
    If we're all disposable space chum in this franchise game anyway, who needs a coherent narrative and character arcs? Just bite the head off every chicken, and lean in.
  28. Soul Men
    Soul Men could have done with less amped-up abrasiveness and more soft-shoe charm.
  29. Silent House
    A denouement more textbook than thrilling stalls some of the movie's power. But the early chills are potent, intense.
  30. The Quick and the Dead
    The Quick and the Dead is too light to pack the dramatic punch of a true Western and too flat to pass as cheeky revisionism. It ends up in its own amiable, slowpoke limbo.
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