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. Multiplicity
    Ramis’ talented, underused SCTV colleague Eugene Levy makes a brief, welcome appearance as a nuttily dim cement contractor, but he’s a zany interlude in an otherwise muted, unzany tale.
  2. 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.
  3. Extreme Measures
    Apted keeps the speechifying and dramatic poses away from Grant (poor Hackman’s the one forced to say, ”If you could cure cancer by killing one person, wouldn’t that be the brave thing to do?”). And he gives the star room to do clean work without the fussiness that marred Nine Months.
  4. The Island of Dr. Moreau
    He’s become such an obvious parody of himself that Frankenheimer has permitted Kilmer to do a wicked mid-movie impersonation of Brando’s character; it’s funny, but it also gives The Island of Dr. Moreau an extra layer of camp it certainly didn’t need.
  5. Eye for an Eye
    It’s an exercise in mad-as-hell vigilantism. And to reinforce the absurdity of what fury can be unleashed in a woman when a killer smirks, Sally Field — the Not Without My Daughter star herself — plays the ponytailed mom with the itchy trigger finger.
    • 58 Metascore
    • 58 Critic Score
    The Three Faces of Eve
    What seemed steamy in 1957 — a reasonably frank look at mental disorder and repressed sexuality — is today the stuff of Oprah.
  7. Mufasa: The Lion King
    The visual effects and animation teams scale a monumental peak here, and their work, at least, is worthy of praise. But Nathanson’s screenplay is a spiral of ever-increasing peril.
  8. Knock at the Cabin
    Shyamalan may be saying something meaningful about faith or environmental destruction or the corrosive fraying of the social contract (could this vigilante crew really be motivated by pure homophobia, as Andrew believes?). But the message is mostly lost in sentiment, and a lingering sense of the better, messier movie that might have been.
  9. Scream VI
    Splattery, puncture-heavy violence — the hard-R rating is earned — alternates with deadening rafts of therapy-speak, including an actual therapy session. But there's no deeper meaning to any of it; the Scream idea, meta to its core, was always a preening celebration of its own cleverness, never mind the occasional half-explored nods to toxic fandom or cancel culture.
  10. Cat Person
    By swerving into territory already better owned by outrageous indies like Promising Young Woman — and to a lesser degree, last year's Sundance breakout Fresh — Cat forfeits its own underlying message, without finding anything else new or even particularly coherent to say.
  11. Cocaine Bear
    It's all patently ridiculous, and even at 95 minutes, a stretch to call this loose cannonball of high camp and sticky-bright gore a movie.
  12. The Killer
    Fincher is adept at excoriating the darkness of the human soul, but he's missed his mark with a character so blindly determined to prove he doesn't have one.
  13. Ballerina
    Like dining at Burger King, it's undeniably enjoyable, but may leave you with a queasy feeling when it's all over.
  14. Chantilly Lace
    Given a wealth of acting talent and the freedom to improvise its way past the cliches that hobble so many films by and about women, Chantilly Lace ends up a cliche anyway: a manipulative tearjerker.
  15. Finally Dawn
    Costanzo wants to tell a story set in the past, but he doesn't spend enough time fine-tuning the particulars that make period pieces feel vital rather than stagey. Additionally, at 140 minutes, the film is self-indulgent in length.
  16. Civil War
    The result is a brutal piece of speculative fiction that highlights the ugliness of war — even if it never quite lives up to its provocative premise.
  17. Kinds of Kindness
    With their abrupt violence, grotesque body horror, and mordant sense of humor, all three of the stories feel more aligned with Lanthimos’ earlier style, The audacity that has so defined Lanthimos and Stone’s work together remains, but here, it takes on a nastiness that becomes tedious the longer the film stretches on (and on and on to a nearly three-hour running time).
  18. Bird
    Like the butterflies and pockets of natural beauty that Bailey is drawn to, there are glimmers of potential in Bird. But it never fully manages to take flight, leaving its provocative conclusion more jarring and confusing than revelatory.
  19. Karate Kid: Legends
    Weirdly it's because it is so damned hokey that parts of the movie are agreeable. One can't help but laugh. That, plus the lead performer, Ben Wang as Li Fong, is extremely likable. He gives a terrific performance, even if you've seen every beat before.
  20. Eden
    Howard, working from a script by Noah Pink, has a lot of plates to keep spinning, including the story's wild swings between outrageous outbursts, sometimes played for laughs, and dog-eat-dog tension. Inevitably, with such an act, a few plates are bound to break.
  21. Little Buddha
    You hardly need to be devoted to the ways of Buddhism to see when a gifted filmmaker, for the sake of multicultural niceness, has enthusiastically abandoned his mind.
    • 53 Metascore
    • 58 Critic Score
    Champagne
    The story and character work get the job done, but aren't likely to leave a lasting impression.
  23. From Paris with Love
    A ''fun trash'' movie that's more trash than fun.
  24. Daybreakers
    Daybreakers turns?into a ponderous apocalyptic chase film -- it's like "Children of Men" with exploding-plasma shock effects.
  25. The Blind Side
    A feel-good movie that never stops feeling good. The film is based on a true story (it was adapted from a nonfiction best-seller by Michael Lewis), but you never feel that Hancock has honestly captured what's true about it.
  26. Nine
    The numbers, while lively, remain cluttered and stage-bound. The women, however, are spirited and sexy.
  27. 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.
  28. Let the Right One In
    If random arty blood thrills are your cup of fear, perhaps you'll enjoy Let the Right One In, a Swedish head-scratcher that has a few creepy images but very little holding them together.
  29. The Fourth Kind
    Too often, The Fourth Kind makes the paranormal look disappointingly normal.
  30. The Loss of a Teardrop Diamond
    Howard looks peachy, and actor-turned-director Jodie Markell sweats the details -- moonlight, honeyed accents -- but the brittle script resists restoration.
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