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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    • 43 Metascore
    • 58 Critic Score
    Hot Rod
    Wait until the best parts pop up on YouTube.
  2. Antebellum
    The star works valiantly to channel Eden/Veronica's pain and confusion, and the whole humanity of a life her captors so casually dismiss. As a performer, she commits utterly; if only the story could do the same.
  3. The Angry Birds Movie
    The 3-D animated film delivers a mildly diverting mix of winky meta-jokes and moral lessons, cannily aimed at both the next generation of tiny consumers and their more sophisticated parents.
  4. Equals
    Director Drake Doremus carefully constructs an us-against-the-world romance for Silas and Nia (an idea he pulled off beautifully in the underrated 2011 drama "Like Crazy," starring Felicity Jones and the late Anton Yelchin) and provides them with a rogue band of fellow thought rebels, including Guy Pearce and Jacki Weaver.
  5. Chain Reaction
    Chain Reaction, while crisply shot, unfolds in an action-suspense-thriller void. The movie’s emblem might be the terse, bureaucratically impersonal performance of Morgan Freeman, who, as the energy project’s chief government liaison, manages to play the film’s most ambiguous character without raising its dramatic temperature one degree.
  6. The Girl in the Spider's Web
    Now a miscast Claire Foy adopts the hacker vigilante’s black leather and badass avenging-angel attitude for The Girl in the Spider’s Web — a disappointingly safe, by-the-numbers action-thriller.
  7. Sorry, Haters
    The movie is cross-eyed with fuzzy thinking; it's also an interesting, if wacko, artistic response to world events.
  8. MacGruber
    The result is a naughty throwaway in all senses of the word.
  9. The Shaggy Dog
    The star (Allen), unleashed, is so energetic in his approximation of a bearded collie -- his nose sniffing the air, his whole being (which toggles between human and canine form) overcome by the need to fetch any stick thrown -- that his slobbery charm carries the picture.
  10. Maleficent: Mistress of Evil
    For kids maybe this is still magical; grownups, though, will waste many long, busily bedazzled minutes wondering why the powers that were able to bring Pfeiffer and Jolie together on screen couldn’t do at least marginally better by them both, and give them parts to truly sink their movie-star teeth into.
  11. X Games 3D: The Movie
    Mostly an overlong demo reel of increasingly gutsy tricks.
  12. Light It Up
    As an actor, Raymond is whiny and annoying, but not nearly so much as the film.
  13. American Pie 2
    Even though they're now college dudes, fulfillment for fellas is still predicated on copping a feel and downing a brewski.
  14. Anything Else
    With every recycled piece of business -- which is to say, every scene in Anything Else -- the distance widens between Allen and the elusive audience he pessimistically chases. He has never seemed less in touch with his own real, pulsing, 21st-century city.
  15. The Beach
    As a book, The Beach offers the option of diving deep. As a movie, it sticks too close to the shoreline.
  16. Shelter
    Its intentions are noble. Its gaze is harshly realistic. But it’s also overly melodramatic. Bettany has the makings of better director than screenwriter.
  17. Why Did I Get Married Too?
    WDIGMT? serves up speeches about trust and fidelity and rolling with the punches and blah blah blah. But it does so with so little energy that the actors might as well be saying the words blah blah blah.
  18. The Long Kiss Goodnight
    Ultimately, however, Kiss is too ridiculous to engage us as a thriller yet too cringingly self-conscious to amuse us as camp.
  19. Medicine Man
    In the end, there’s something opportunistic and glib about the way that Medicine Man yokes together medical wish fulfillment and save-the-rain-forest agitprop into a neat, messagey package. Nothing takes the fun out of romance quite like liberal earnestness.
  20. Wish I Was Here
    Braff, who co-wrote the film with his own brother, is clearly attached to the semiautobiographical material here and still has a knack for sweet two-person scenes.
  21. Total Recall (2012)
    This one is somberly kinetic and joyless.
  22. Suspended Animation
    Describing what's bad about this movie is like describing what's orange about an orange, but suffice it to say that the best performance is given by a crucified raccoon.
  23. Riding in Cars with Boys
    When Barrymore finally gets mean, the movie finally gets good. Then comes another sing-along, dammit.
  24. The Last Castle
    This is, after all, not just Robert Redford. It's Redford in the nobly burnished self-mythologic perfection of his late-middle-aged golden god-ness.
  25. Hope Floats
    The pond is so shallow in this wan romance that there's no room for anything to float.
  26. Paycheck
    The amazing thing about John Woo's steely, impersonal adaptation of Philip K. Dick sci-fi story about a tech genius whose memory is erased...is how it vanishes in front of our eyes even as we watch it.
  27. Kingpin
    Lowest-common-denominator humor.
    • 43 Metascore
    • 42 Reviewed by
      Ty Burr
    Hocus Pocus
    It’s acceptable scary-silly kid fodder that adults will find only mildly insulting. Unless they’re Bette Midler fans. In which case it’s depressing as hell.
  29. The Wolfman
    Del Toro, with his melancholy-brute features, endows this raging beast with some of the ''Why me?'' poignance you may remember from Lon Chaney Jr.'s performance in the original.
  30. Dear John
    Ironically, they make the bond between John and Savannah look so natural that the ''dear John'' turn in their relationship makes even less sense than it does in the book.
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