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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    • 47 Metascore
    • 42 Critic Score
    Flyboys
    This is a lost opportunity on an epic scale. The actors are so styled and the dogfights so drippy with CG that, as a period piece, the movie almost looks like it's set in the future.
  2. Monster Hunter
    Plot doesn't really matter, there's not much character development to speak of, but there is a lot of fighting against an endless swarm of enemies.
  3. Pushing Tin
    Makes you wish that Newell and company had had the gumption to finish what they so enticingly started.
  4. Swing Vote
    Costner (who's also a producer) plays to his middle-aged strengths in a role that exaggerates male weaknesses.
  5. Choke
    It's an indelibly warped cartoon of lust and despair.
  6. Halloween Ends
    Before it lumbers to its big showdown — halfheartedly, with all the excitement of a third installment of a third reboot cycle — Halloween Ends is an unusually Michael Myers-free affair. Where's the big guy?
  7. Wish
    Wish is so obsessed with the past that it fails to add anything new of its own. If you’re going to pay tribute to 100 years of Disney magic, you can’t forget to save a little magic for yourself.
  8. 1492: Conquest of Paradise
    At 2.5 hours, 1492 is even harder to sit through than last month’s schlock extravaganza Christopher Columbus: The Discovery. In each case the filmmakers have fallen into a similar trap. Out of some vague mixture of historical ”duty” and commercial myopia, they’ve presented Columbus as the same cardboard visionary we learned about in school.
  9. Where the Truth Lies
    A mood of lush romantic decadence -- sleaze made enigmatic -- hovers over Where the Truth Lies, which has a score that works so hard to evoke "Vertigo" that it may leave you dizzy.
  10. The Trouble with Men and Women
    Some movies make love look schematic. The Trouble With Men + Women makes those films look stunningly insightful.
  11. The Shipping News
    A limp and sodden downer.
  12. The Legend of Bagger Vance
    There's not a moment in Bagger Vance that can't be anticipated.
  13. The Last Shot
    Teetering on an abyss of meta-wackiness, The Last Shot -- a movie about movie fakery, based on a true story about a fake movie -- succeeds modestly where, by all rights, it should fail miserably.
  14. I Am David
    The movie meets the requirements of the "Life Is Beautiful" school; those loyal to the tougher, more stringent Osama academy of realism need not apply.
  15. Luther
    Rising above the throng is the great wreck of Sir Peter Ustinov, who, as the canny, saucy German Prince Frederick, distinguishes both himself and the movie.
  16. Shall We Dance
    The movie never gives its heart freely and honestly to the satiny whirl of post-"Chicago" showbiz spectacle it so clearly wants to be.
  17. Halloween (2007)
    This Myers is more problem child than bogeyman.
  18. Young Guns II
    Whenever a few of the Young Guns get together and have to behave like soulful cowboys, the movie stops dead in its tracks. The trouble with so many of today’s young actors is that there’s no deep-seated yearning or fury in their performances. They just seem like well-adjusted California kids putting on a show for a few hours.
  19. Reno 911!: Miami
    The characters are perfectly evolved screwups and the premise has potential. It lacks only the discipline of a 30-minute episode -- or a YouTube video.
  20. The Lost City
    Though the filmmaker's feel for his Cuban heritage is bone-deep, it's a glazed and dolorous movie - a depressed epic.
  21. Senior Year
    The extremely game presence of actors like Zoë Chao, Veep's Sam Richardson, and This Is Us's Justin Hartley (as the dimpled bohunk she left behind) help anchor the chaotic wisp of a plot that follows, as does Wilson's barrelling, blithely crass energy.
  22. The Hitman's Bodyguard
    The Hitman’s Bodyguard is strictly an Economy Coach experience, but it’s brainlessly fun enough in a late-’90s Brett Ratner buddy-comedy kind of way.
  23. The Wild
    Lifting a concept isn't exactly foreign to the world of animation (what's "The Lion King" if not "Bambi" with manes?), but it isn't often a rip-off gets as blatant as The Wild, a flat-out regurgitation of "Madagascar."
  24. Poltergeist
    The only really frightening thing about the 2015 version of Poltergeist is how haunted it is by the original.
  25. Primal Fear
    Gere taps into his charismatic-weasel mode, but director Gregory Hoblit fills the big screen with excellent TV actors (Andre Braugher, John Mahoney, Maura Tierney) and then gives them nothing interesting to do.
  26. The Day After Tomorrow
    A decent disaster pic comes down to the handful of colorful individuals who will live (or, depending on the prominence of their billing, die), as it has since the days of chewy disaster meatballs like ''The Towering Inferno'' and ''Earthquake.'' And the heaviest lifting in Emmerich's production falls to Dennis Quaid and Jake Gyllenhaal.
  27. Blood In, Blood Out
    What the movie needed was the kind of dark explosion of star temperament that Sean Penn brought to 1983’s Bad Boys. Still, give Hackford this: He does a vivid job of taking you places you may not think you’d want to go.
    • 47 Metascore
    • 42 Critic Score
    Hercules
    When Johnson is wearing the head of the slayed Nemean lion in battle, walloping enemies with his tree-trunk sized club, and heaving charging horses to the ground with remarkable ease, he's in his Rock comfort zone. But as a tortured hero hampered by self-doubt, Johnson labors.
  29. Nine Months
    If there were a scale for measuring how much of a movie’s substance was pure plastic, Nine Months, the new maternity comedy directed by Chris Columbus (Mrs. Doubtfire), would surely register dangerously high polymer levels.
  30. Oscar
    Every chuckle feels engineered. Stallone is reduced to playing straight man to a gaggle of stock Damon Runyon hoods, though Tim Curry, looking like a stuffed cod, brings a prissy, nerdish glee to the role of a madly obsequious linguistics professor.
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