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. The Calling
    The Calling shares a little too much with atmospheric TV mysteries like "The Killing" and "Broadchurch": the hard-living female detective, the cloudy weather, the small-town existentialism.
  2. The Ringer
    The surprise of The Ringer is that the movie is pretty damn funny.
  3. The Sorcerer's Apprentice
    The Sorcerer's Apprentice is too long, and it's ersatz magic, but at least it casts an ersatz spell.
    • 46 Metascore
    • 42 Critic Score
    Ravenous
    Oddball period tale of cannibalistic shenanigans.
  5. Johnny English Reborn
    Fans of sophisticated humor may feel empathy with, if not sympathy for, the lead character on those many occasions he is kicked in the nuts.
  6. Kafka
    The movie is MTV Kafka: Instead of dialogue, character, behavior, it has a look and a mood. And that's all it has.
  7. Next Day Air
    If the movie doesn't even care about its characters, then how can we?
  8. You, Me and Dupree
    Isn't a very funny movie (it preaches nonconformity in the rote style of an overlit sitcom), but Wilson, at least, keeps it afloat.
  9. Rebecca
    With or without that hallowed history, it's hard not to feel the lack of something in director Ben Wheatley's lush, ponderous update — the most obvious thing, perhaps, being Laurence Olivier and Joan Fontaine.
  10. You Should Have Left
    Even at 93 minutes, the material feels thin, and so does its moral message. But the movie's goofy, blunt-edged claustrophobia may also be its greatest gift to viewers: the chance to be grateful that the only ones haunting our own homes right now are us.
  11. Tommy Boy
    Just when you thought you’d erased the memory of Adam Sandler in Billy Madison playing a slobbo idiot who must prove he’s worthy of taking over his father’s business, along comes Chris Farley playing a slobbo ; idiot who must prove he’s worthy of taking over his father’s business. Yet this movie, unlike Sandler’s fiasco, does at least have a few scuzzy laughs.
  12. Manderlay
    Manderlay is turgid and hollow.
  13. Airheads
    The film’s most distinctive, if obnoxious, feature is the coy, look-at-what- an-adorable-doofus-I-am clowning of Adam Sandler, who here, as on Saturday Night Live, parades his ironic infantilism.
  14. Hackers
    It's a dismal mess...What's most grating about Hackers, however, is the guileless way the movie buys in to the computer-kid-as-elite-rebel mystique currently being peddled by magazines like Wired.
  15. Reminiscence
    Writer-director Lisa Joy (Westworld) seems to be aiming for an Inception-style metaphysical mind-bend, with the sci-fi jolt of Minority Report and a bleak splash of Waterworld. But her intentions get lost in some cloudy marine layer in between, sunk by hammy hard-boiled dialogue and a story that leaves logic at the door.
  16. She's Out of My League
    If you're hungry to see a romantic comedy about a genetically and culturally imbalanced geek-meets-babe relationship that makes the one in Knocked Up look like the quintessence of plausible human mating, then by all means subject yourself to the one-joke sub–Judd Apatow snark-athon that is She's Out of My League.
  17. Sin City: A Dame To Kill For
    The overall effect is less titillating than numbing.
  18. The Comedy
    The Comedy pretends to be a satire of entitlement, but it's made in a style so indulgent that the whole film feels entitled in the extreme.
  19. How Do You Know
    How Do You Know asks really good questions but doesn't so much answer them as toss the ball from player to player until the clock runs out.
  20. King Arthur
    In a movie like this one, a little madness is its own Holy Grail.
  21. Hostel: Part II
    An authentic real-world creep show -- better, if anything, than its predecessor.
  22. The Nun
    When it leans into its camp, (I.e. when the French-Canadian “Frenchie” is on screen), The Nun comes closest to its ideal form of go-to midnight-movie, the fun younger cousin of the Conjuring movies with less build-up but more of the money shots you’ll come to a theater to see.
  23. If I Stay
    If I Stay never bothers to go after authenticity when there's a cliché hovering nearby. That may not be enough of a drawback to prevent teenage audiences from lapping up the movie with a spoon, but they certainly deserve better.
    • 46 Metascore
    • 25 Critic Score
    One Night at McCool's
    More than just dumb, the picture is embarrassingly dorky.
  25. Dog Park
    This shambling romantic comedy...clings to a sensibility that's imperviously, uncompromisingly Canadian.
  26. Secret Window
    Doesn't keep any secrets but an open one: that Johnny Depp is on a roll, and actor's block is definitely not his problem.
  27. White Sands
    White Sands, on the other hand, is a dud, the sort of movie that swathes its emptiness in layers of chic, swirling ”visuals.”
  28. Fast & Furious
    It offers an attractive getaway route from self-importance, snark, and chatty comedies about male bonding. Here, stick shifts do the talking.
  29. Dangerous Minds
    Yet despite its promising pedigree, Dangerous Minds has a slick, syrupy fraudulence -- it's like an Afterschool Special made for MTV.
  30. Hoot
    Don't let the Carl Hiaasen pedigree fool you: Hoot is an Afterschool Special too crummy to give a hoot about.
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