Entertainment Weekly's Scores

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For 7,797 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 7797
  2. Mixed: 2,079 out of 7797
  3. Negative: 760 out of 7797
7797 movie reviews
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  1. The Expendables
    The way that Stallone directs, though, every machete thrust and relentless round of bullet spray is staged with a certain undeniable...conviction.
  2. The Warrior's Way
    There isn't a shred of subtlety in their clowning - or in any part of the movie, which clumsily shoots for operatic highs and lows. But with so many borrowed bits and pieces, the only feeling it successfully evokes is déjà vu.
  3. S.W.A.T.
    Aware of its own cuteness because the dialogue plays by the rules of meta-entertainment.
  4. How to Lose a Guy in 10 Days
    With its ungainly double-deception premise, How to Lose a Guy feels like it was made out of two connect-the-dots drawings laid haphazardly on top of one another.
  5. The Kid
    A parable for adults -- particularly men.
  6. She's Funny That Way
    She’s Funny That Way is posted as a love letter to the classic screwball comedies of Hollywood’s golden age, but delivers ersatz Woody Allen instead; it’s like "Bullets Over Broadway" minus the mob plot and 90 percent of the charm.
  7. Uncertainty
    Joseph Gordon-Levitt and Lynn Collins are so interesting that it's easy to put up with the decision-making dithering that goes along with the title.
  8. Jonas Brothers: The 3D Concert Experience
    To fully savor Jonas Brothers: The 3D Concert Experience, it's best to watch with an audience overwhelmingly populated by girls and young women.
  9. Chasing Mavericks
    In attempting to honor their subject, the filmmakers also sap the life out of a potentially thrilling story.
  10. Rules of Engagement
    The drama ultimately retreats to safer, duller, more illogical, and more reactionary impulses and stereotypes.
  11. The Scorpion King
    Isn't incompetent; it's just plodding and obvious. If anything holds it together, it's The Rock's ironic ability to tread lightly, which the movie is neither fast nor inventive enough to recognize as different from the spirit of Arnold.
  12. Legends of the Fall
    This puffed-up Western set in Big Sky country becomes a small-screen horse opera.
  13. The Incredible Burt Wonderstone
    The movie itself is too cautious and unimaginative to bring off what a great magic trick — or comedy — should do: make us laugh out loud with surprise.
  14. Cherry
    For all the frenzied action of the final scenes though, there's an airless, overwrought sense of diminishing returns — and that's a comedown we've seen too many times before.
  15. Rails & Ties
    Rails & Ties is like one bad TV movie that slammed into another.
  16. Salt and Fire
    In Salt and Fire, a bad movie but an intriguing vacation slideshow, Michael Shannon and Veronica Ferres play “characters” (unconvincing, undimensional) and speak “dialogue” (expository, flat).
  17. Brief Interviews with Hideous Men
    At times, the movie could have been called "Me and You and Every One of the Bastards We Know," but Krasinski preserves Wallace's whooshing roller coasters of words, powered by the fuel of confession.
    • 44 Metascore
    • 16 Critic Score
    Miracles from Heaven
    Miracles From Heaven stands firm atop a sloppily made case for faith over logic and spirituality over science, and for that, it’s challenging to view as a film instead of judgmental ideology in cinematic drag.
  19. School for Scoundrels
    Director Todd Phillips tries for the kind of frat slaphappiness he applied so successfully to "Old School," but these boys are less scoundrels than individual salesmen for the brands of Heder and Thornton.
    • 44 Metascore
    • 42 Critic Score
    More American Graffiti
    A coming-of-age picture that never arrives.
  21. Frankie and Johnny Are Married
    The only metatwist missing in the twittering self-regard of this indulgent home movie is the participation of a documentary video crew -- ideally helmed by some TV exec's USC-grad son -- shooting the filmmakers shooting the play within the play.
  22. Kate & Leopold
    It's no myth: All play and no work makes Jackman, as Leopold, a doll of a boyfriend.
  23. A Slipping-Down Life
    Taylor does that thing she does when she whispers as if she has just discovered speech; Pearce enjoys himself doing his own singing, and embracing grunge.
  24. Saban's Power Rangers
    Most movies like Power Rangers get the first-half Y.A. character stuff wrong and the second-half smashy-smashy action stuff right. This one does just the reverse.
  25. Oz the Great and Powerful
    The film is stuffed with three endings too many. You can't blame Raimi for wanting to give us our money's worth. But after a while, you just want him to get to the Happily Ever After already.
  26. Joyful Noise
    The movie's musical numbers are catchy and rollicking and, in their bright sunshiny way, rather soulful.
  27. Rush Hour 3
    It's a jerry-built kick-ass insult machine assembled entirely out of secondhand parts.
  28. A Million Ways to Die in the West
    I don't know if A Million Ways to Die in the West will turn any of the MacFarlane haters into fans. But for those of us who have remained on the fence until now, his raunchy, rat-a-tat parody is proof that beneath all of the bratty immaturity lays the head and heart of an outrageous quick-draw satirist.
  29. All the Boys Love Mandy Lane
    Mandy Lane does eventually build to a whiplash twist ending, but it's too little, too late — much like the film itself. Here's a case where the backstory is more interesting than the movie.
  30. Warlock
    Warlock is an occult schlock-o-rama, with special effects so low-budget they might have come out of a joke shop.
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