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. A Good Old Fashioned Orgy
    In essence, this is an indie Adam Sandler comedy, and when its heroes are psyching themselves up for the big event, it's kind of funny. But the orgy doesn't make you laugh - it makes you cringe.
  2. The Belko Experiment
    Belko is an appropriately disreputable, gleefully disturbing movie.
  3. Pain Hustlers
    Solid performances are overshadowed by chaos. Yates brought magic to the Wizarding World, while here, he stuffs Pain Hustlers with voiceovers, freeze frames, and black-and-white mockumentary talking heads. These are gimmicks that have been done before — and better — in films like The Big Short and now just feel derivative.
  4. Hostage
    My new theory is that Willis' own aesthetic soul is more old-world than he knows, and that he works best with directors who either are (Luc Besson) or might as well be (M. Night Shyamalan) European.
  5. Second Best
    Second Best might have made a good stage monologue, but as a film it's overstated and barely baked.
  6. Walking Tall
    There's not a guy I know who hasn't been looking forward to seeing The Rock pick up the big wooden stick first swung by Joe Don Baker more than 30 years ago.
  7. Man of the Century
    A premise masquerading as a movie.
    • 44 Metascore
    • 58 Critic Score
    Angels in the Outfield
    At Angels‘ end, Al tells Roger, ”We’re always watching.” That’s more than audiences will say about this disappointing movie.
    • 44 Metascore
    • 33 Reviewed by
      Ty Burr
    Chasers
    Hopper peppers the cast with his usual assortment of fringe players (Dean Stockwell, Crispin Glover, Seymour Cassell), but his own cameo as a horny salesman is an embarrassment, and the dreadful script mistakes cuss words for wit every step of the way.
  10. The King's Man
    But for all its faults, The King's Man is at least hilariously bad in the way that emotionless, made-by-committee blockbusters like Star Wars: The Rise of Skywalker are not.
  11. Made in Italy
    It feels almost churlish to fault the film for its weightlessness, when light is exactly what movies like this are meant to provide: a fizzy, sun-drenched escape from the pale monotony of our own lives.
  12. The Inbetweeners Movie
    This feature-length dose of boyish sexual fumbling and fantastically dirty British slang is bound to expand an American viewer's vocabulary.
  13. Renaissance Man
    The big underachiever turns out to be DeVito, who is incapable of exhibiting believable warmth and complexity, or, indeed, of playing anyone who is not a cartoon.
  14. Delivery Man
    The only saving grace is Chris Pratt as Vaughn's deadpan best friend.
  15. Faster
    Faster grafts that genre's style onto a deadbeat script and leaves it to Johnson - as deadly focused as a gunsight - to make it all believable.
  16. Last Action Hero
    Last Action Hero makes such a strenuous show of winking at the audience (and itself) that it seems to be celebrating nothing so much as its own awfulness. In a sense, the movie's incipient commercial failure completes it aesthetically.
  17. Plunkett & Macleane
    Watchable in a facile, trashy way. Unfortunately, most of the movie is mired in sludge, slime, mud, blood, and studiously dank cinematography.
  18. It Runs in the Family
    A sodden drama of filial conflict that dares the audience to confuse the characters with the players. P.T. Barnum couldn't have come up with a better hook, but he would have rewarded his suckers with more ''On Golden Pond'' entertainment bang for their buck.
  19. The Center of the World
    Too arty by half.
  20. Kikujirô no natsu
    The film isn't just bad; it's a barely coherent, inert mess -- a heart-tugger for voidoids.
  21. Funny Games (2008)
    Can a movie be gripping and repellent at the same time? In Funny Games, a mockingly sadistic and terrifying watch-the-middle-class-writhe-like-stuck-pigs thriller, the director Michael Haneke puts his characters in a vise, and the audience too.
  22. The Ruins
    The Ruins is lumpish, static, and obvious. It's a gringos-go-home cautionary fright flick done in the spirit of a cheap '50s horror movie, except that it leaves you longing for the competence of grade-Z studio-system trash.
  23. Mortal Engines
    Despite all of the film’s retro-future eye candy, it never quite sweeps you out of your seat and transports you someplace new. It’s a squeaky salvage job that could have used a fresh dose of oil to make it hum.
  24. Underworld: Rise of the Lycans
    Sheen and Nighy do their best with the material, but this is easily the worst Underworld so far.
  25. Head of State
    Rock and Mac exult in the kind of highly charged verbal and physical antics that are star-turn rewards for performers currently at the tops of their games.
  26. Double Team
    Double Team becomes an enjoyably decadent spectacle of gymnastic preposterousness.
  27. The Raven
    The film, devising events that led up to his mysterious death in 1849, is also the most gruesomely literal-minded of period detective stories.
  28. Girl 6
    Lee, I'm afraid, hasn't a clue. He has made half a movie, a phone-sex comedy in which the heroine has no real existence apart from the phone.
  29. We're the Millers
    While Aniston shows that she's as deft on a stripper pole as she is with her sitcom-honed timing, Sudeikis wields his smart-ass sarcasm like a barbed weapon. And more often than not, it kills.
  30. Welcome Home, Roxy Carmichael
    An offbeat pic pointlessly oversaturated with grating characters who look like they got lost on their way to a John Waters fan club convention.
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