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. Step Up
    Step, under the sure hand of director-choreographer Anne Fletcher, quickly discovers its own virtuoso charms. Two of them are its leads.
  2. Penelope
    Is there anything more dull than an ineptly cynical fairy tale?
  3. Admission
    Admission, a likably breezy campus movie directed by Paul Weitz (About a Boy), is blissfully non-insulting.
  4. Paradise Road
    Beresford, who'd like to teach the world to sing, makes the moment as moving as a Coca-Cola jingle. It's not the real thing, but it's effective.
  5. Divine Secrets of the Ya-Ya Sisterhood
    The magnolias in Callie Khouri's fried green movie look limp.
  6. Ant-Man and the Wasp: Quantumania
    At just over 120 minutes, though — a blink in Marvel time — this Ant-Man is clever enough to be fun, and wise enough not overstay its welcome. Who better understands the benefits, after all, of keeping it small?
  7. King of Thieves
    Thieves feels oddly joyless — a mostly rote perp walk through the mechanics of unarmed robbery, sprinkled with occasional slapped-on signifiers of fun (wild camera angles, snazzy soundtrack, smash-cut flashbacks to Swinging London).
  8. Murder at 1600
    As directed by Dwight Little ("Free Willy 2: The Adventure Home," a morph of "The Day of the Dolphin" and "Lassie Come Home"), the tension-to-action sequences unspool efficiently.
    • 48 Metascore
    • 25 Critic Score
    The Doom Generation
    Good luck searching for meaning — you’ll find mostly blood and epithets.
  10. The Call of the Wild
    Though this tale of redemption and survival doesn’t feel particularly relevant or essential in today’s media landscape, it still has the capacity to entertain and move, well over a century after the story first was published. And Ford’s presence and performance inject it with a wild heart it desperately needs.
  11. Don't Worry Darling
    The movie, whatever its pile of ideas about love, gender constructs, and modern living, never really transcends Stepford mood-board pastiche. It's all nefarious and gorgeous, Darling, and strictly nonsense in the end.
    • 48 Metascore
    • 58 Critic Score
    Martian Child
    The problem with Martian Child is that it wants to be a story about outcasts, but Dennis doesn't come off as a cute little rebel.
  13. I Feel Pretty
    There’s also something depressing about Schumer playing off her own looks as if, without the abracadabra of her bonked-head delusions, she were some sort of hideous gremlin. Magician, heal thyself.
  14. The Mountain Between Us
    Can’t decide whether it wants to be a chilling survival movie or a sweeping romance. It never fully commits to either genre, and the result is a forgettable adventure that leaves you feeling cold.
    • 48 Metascore
    • 25 Critic Score
    Blues Brothers 2000
    The Blues Brothers may now just qualify as the most overextended one-joke shtick in history.
  16. The Great Raid
    The main problem? Raid lacks a center. It's an exhausted sprawl with multiple story foci, none of them terribly compelling.
  17. Black Nativity
    While Hudson's and costar Mary J. Blige's soulful, stirring musical numbers are absolute dynamite, the rest of the film's story is larded with enough soap opera twists and heavy-handed schmaltz that you'll feel like you're being bludgeoned with a hymnal.
  18. Night at the Museum
    What a dull, nice movie, wrenched from a wild premise and battered into docility.
    • 48 Metascore
    • 75 Reviewed by
      Ty Burr
    Condo Painting
    This vision of creativity as blind, instinctive ''process'' is exhilarating.
  20. 17 Again
    The result is a slack do-over fantasy in which Zac Efron, as a basketball star, looks baffled as to why he hasn't been asked to sing and dance.
  21. F/X2
    The movie itself is convoluted and almost unbelievably lackluster.
  22. The Thing About My Folks
    Thing is Woody Allen on a third-grade reading level. Neurosis abounds, but awareness doesn't, and certain ''jokes'' demand additional therapy.
  23. The Proposal
    The chemical energy between Bullock and Reynolds is fresh and irresistible.
  24. The Strangers: Prey at Night
    Two films in, The Strangers has already become a horribly familiar franchise.
  25. National Treasure: Book of Secrets
    Director Jon Turteltaub has fun with Indian glyphs, giant stone pulleys, and an Indy Jones-worthy City of Gold located beneath the rocky shoals of Mount Rushmore.
  26. Mary Magdalene
    No one can argue that Mary Magdalene isn’t a well-intentioned film. It’s just that while Mara convinces you that Mary deserves a more contemporary reappraisal, she also lays bare the fact that she deserves a better movie in which to accomplish it.
  27. Godzilla: King of the Monsters
    Before anyone reading this starts complaining that I just don’t get what movies like Godzilla: King of the Monsters are all about, that I’m the sort of killjoy who should just relax, let me say that it would be a lot easier to take it less seriously if the people who made the movie cared enough to take it more seriously.
  28. Hard Ball
    The movie is so littered with clichés of genre, as well as clichés of artifice in Reeves' pained performance, that any semblance of social reality goes foul.
  29. The Mummy Returns
    The actors themselves are more rip roaring and full of spunk than in their first outing.
  30. xXx
    Even in the summertime, the most restless young audience deserves the dignity of an action hero motivated by something more than franchise possibilities. Movies like XXX -- a big 000 -- don't deserve our $$$.
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