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. Hollywood Homicide
    Is it, you know, fun? At times. Yet there's a rote quality to the way this half-dumb, half-sly movie resolves itself into an intentional debauch, a pileup of villainy and heavy metal. The only California dream it leaves you with is one of wretched excess.
  2. U.S. Marshals
    Efficient, uninspired sequel.
  3. Cats & Dogs
    The plot and script sag like worn out chew toys just when Cats & Dogs should be in full squeak.
  4. Big Trouble
    There are stretches of big fun in Big Trouble, and little pleasures too.
  5. The Alamo
    Never harmonizes into a cinematic experience any more resonant than the average, manly, why-we-fight pic, or coalesces into a stirring cry for freedom.
    • 47 Metascore
    • 75 Critic Score
    Psycho
    The film is shot in color and includes an amped-up Danny Elfman version of Bernard Herrmann's haunting score.
  7. The Odd Life of Timothy Green
    The movie should have been called Diary of a Wimpy Forrest Gump. It's genuinely soft-hearted (you're all but guaranteed to cry) but mush-brained, too.
  8. Semi-Pro
    The big goofball relies too much on the funny hair and swingin' postures of the era as punchlines in themselves.
  9. The Witches
    This Witches, alas, has the misfortune of doubling down on all the late writer's eccentricities, while somehow finding only a fraction of his magic.
    • 47 Metascore
    • 42 Critic Score
    Lakeview Terrace
    Jackson is the best thing here.
    • 47 Metascore
    • 25 Critic Score
    Only the Lonely
    Only the Lonely is for only the desperate.
  12. Everybody's Fine
    Calculatedly soppy, seasonally phony Americanized remake of Giuseppe Tornatore's 1990 "Stanno Tutti Bene."
  13. Kate
    Subtle it's not: Kate is red-meat storytelling, all broad outlines and crunched bones. But there's a visual wit and visceral energy to it that other recent efforts (the pop-feminist comic-book gloss Gunpowder Milkshake, also on Netflix, and Amazon Prime's spectacularly silly Jolt, featuring a rampaging Kate Beckinsale) struggle to find.
  14. November
    The depth of the story and the characters is awfully slight to bear the weight of such fancy editing. But the performances are crisp and in focus, with Cox in particular showing a photogenic feel for expressing grief.
  15. Just Like Heaven
    That Just Like Heaven succeeds at all - at least for teenage girls with limited interest in the drafting of living wills - is due entirely to Witherspoon's can-do charisma.
    • 47 Metascore
    • 91 Critic Score
    Love Potion #9
    It’s the height of silliness: An elixir makes two wallflowers (Tate Donovan and Sandra Bullock) irresistible. But the blithe comedy Love Potion #9 is both playful and sweet — and its modest intentions fit the small screen snugly.
    • 47 Metascore
    • 50 Reviewed by
      Ty Burr
    Mr. Jones
    In short, a little too spongy for high- quality junk food.
  18. The A-Team
    The whole movie is a diversionary activity. It's trash so compacted it glows.
  19. The Passion of the Christ
    Tempting as it may be to dismiss Mel Gibson as a glorified pain freak, dressing up a martyrdom fantasy in Aramaic and Latin, it would be more accurate, I think, to say that the filmmaker, a Catholic fundamentalist, presents his torture-racked vision of Jesus' last 12 hours on earth as a sacred form of shock therapy.
  20. Just Friends
    Argues on behalf of the Darwinian theory that all of life imitates high school...But the argument is only halfhearted. Just Friends is much more interested in - and hilarious about - the small nostalgias of suburbia.
  21. Hey Arnold! The Movie
    The ethical, independent-minded kid has his unhip charms, and so does Hey Arnold! The Movie.
  22. The Other Side of the Bed
    While we can agree, for the sake of Iberian-American cinematic friendship, to go along with the whole simplified 1960s swinger premise and ''The Jackie Gleason Show'' choreography, we can also long for the comparatively nuanced 1990s swinger premise of ''Friends.''
  23. Anything But Love
    The frustration of this good-hearted, off-key warble of an indie, written by Rose with Robert Cary, who directed, is that the filmmaking pales when compared with the classic elements of 1950s and early '60s romantic musicals to which it pays homage.
  24. In Secret
    There’s never any doubt that this will end badly for the lovers. But just in case, Jessica Lange as the fire-breathing mother-in-law seals the deal.
  25. Predator 2
    The whole noisy movie is really just a setup for the climactic duel between renegade cop Danny Glover and the monster. By that point, you’re pathetically grateful for a few stomach-churning special effects.
    • 46 Metascore
    • 42 Critic Score
    Home Alone 2: Lost in New York
    Here, the signs of Culkin’s limitations begin to emerge.
  27. Forces of Nature
    The movie has the structure of a madcap romantic chase without the wiggy, busting-out freedom.
    • 46 Metascore
    • 42 Reviewed by
      Ty Burr
    The Thing Called Love
    You sense River Phoenix would rather be elsewhere, and whether he’s responding to the movie or to something larger is not ours to say. But the feeling persists. It’s like watching a premature ghost.
  29. Around the Bend
    It's the showy story, script, and even staging that wear a fella out in this relentlessly precious feature debut by writer-director Jordan Roberts.
  30. Newsies
    It has been put together with just enough efficiency to qualify as an oddball labor of love.
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