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 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 Perfect Weapon
    During the fight scenes, it sounds as if a hundred watermelons were being clobbered at once. Other than that, it’s business as usual, with the all-American Speakman proving the most generic vigilante this genre has spawned yet.
  2. The Hustle
    There are a few legitimately great throwaway lines, and a few vaguely offensive ones. But the movie feels so fast and cheap that it’s hard not to wonder why they’ve made it at all, other than to jump on a small and so-far underwhelming trend in gender-swapping ‘80s remakes (see also: Ghostbusters, Overboard).
  3. Transformers: Revenge of the Fallen
    The sequence serves no real purpose beyond dazzle for dazzle's sake, but when you're watching it, that's purpose enough.
  4. Two Can Play That Game
    Along comes Two Can Play That Game to demonstrate that antifeminist silliness is color-blind.
  5. Scooby-Doo
    The antics involving ghosts, chases, and burping that divert the small fry don't mix with the jokey, tribute-band dialogue spouting from the Mystery, Inc. gang.
  6. Hide and Seek
    Hide and Seek, despite early signs of higher goals, is a factory-standard box of shocks.
  7. Film Geek
    James Westby's loving and self-aware homage to mouth-breathing boys who worship Wong Kar-Wai and can't talk to girls is the opposite of Tarantino-esque: It's Westby-ish, interspersing settings of biting social oafishness with spasms of film knowledge.
  8. Mrs. Winterbourne
    Lake and Fraser never come close to believability as a romantic couple. There's more chemistry going on in a grain of salt.
  9. Bride of the Wind
    A sodden ''feminist'' vulgarization.
  10. Gone in Sixty Seconds
    Eventually, the senses jam and a mental lube job is in order.
  11. A Walk to Remember
    Just because A Walk to Remember is shrewd enough to activate girlish tear ducts doesn't mean it's good enough for our girls. They're willing to buy tickets; why not honor their wits as well as their wallets?
  12. The Host
    It's really a dramatic sinkhole.
  13. My Mother
    Ma Mère, while less prudish than Catherine Breillat's dour deconstructions of sex, is also less competent. It winds up making incest look absurdly swank.
  14. Halloween II (2009)
    What Halloween II does have, though, is Zombie’s claustrophobic visual style; he half-drowns his actors in shadow, then tracks them through windows and around corners like a focused predator. If only we cared about the prey.
  15. Event Horizon
    Event Horizon could have used a decent script, but the director, Paul Anderson, is a stylist to watch.
  16. Mansome
    The best thing about the movie is that it keeps drawing conclusions in opposite directions.
  17. The Kitchen
    There’s so much talent in The Kitchen, and so much of it wasted; that’s kind of all you can think about for most of writer-director Andrea Berloff’s debut.
  18. Post Grad
    Dismayingly conservative dramedy.
  19. Van Helsing
    Van Helsing, a fusion of eye candy and brain sputter, is a long, kinetic, yet dreary mess.
  20. The Forsaken
    While it's rarely scary, the film is often gory.
  21. Ghosts of Mars
    Borderline-incoherent.
  22. A Rumor of Angels
    Director Peter O'Fallon fires his biggest gun: a blast of Mozart's Ave Verum Corpus, truly heavenly music wasted on a handful of dust.
  23. The Babysitters
    The premise is out of '70s porn, and so is the overbroad satire and almost total lack of conviction.
  24. Identity Thief
    The fault, I think, isn't in our stars but in the script, running up a huge comedy tab the likable players can't pay off.
  25. Man of the House
    Walking the path grooved by such stone-faced confreres as De Niro and Schwarzenegger (and following up on his own more successful self-parody in "Men in Black"), Jones positions himself as a Man in a Stetson.
  26. Morbius
    Swedish-Chilean director Daniel Espinosa (Life) gives it all a dark sheen, and shoots the pair's inevitable confrontations less like traditional comic-book clashes than something from The Matrix.
  27. Revenge
    The trouble with Scott’s movies is that they’re not just star vehicles. They’re about the aesthetics of celebrity, about the narcissism that’s going on offscreen. If Revenge ends up knocking Costner down a peg, it’ll be just what he needs — and deserves.
    • 35 Metascore
    • 42 Reviewed by
      Ty Burr
    Urban Legend
    Proficiently filmed and utterly uninspired.
  29. Dreamcatcher
    The nightmare is that the live guys in this Dreamcatcher lose the battle the minute the mechanical worm turns.
  30. Everly
    With so little backstory and character depth, it’s nothing more than a pointless exercise in brutal, nasty style.
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