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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    • 33 Metascore
    • 42 Critic Score
    If Lucy Fell
    Even if these characters are obliged to waste their time getting to that point, no one else is.
    • 72 Metascore
    • 42 Reviewed by
      Ty Burr
    The Adventures of Milo and Otis
    Milo and Otis is an okay babysitter for the very, very young, but for anyone who truly loves animals it seems pretty fishy.
  3. Mulholland Falls
    This is Chinatown for chowderheads.
  4. Raymond & Ray
    The whole thing is so airless and hollowly constructed, so full of mimed but unfelt feelings, that it's a relief to put this body in the ground and forever hold your peace.
  5. Your Place or Mine
    What should be breezy, featherweight fun — Reese! Ashton! A screenplay by the lady who wrote The Devil Wears Prada and 27 Dresses! — instead turns out to be oddly hollow, a meandering and synthetic approximation of classic rom-com canon with too little romance or comedy in its strained, familiar formula.
  6. Deadpool & Wolverine
    The movie is two hours of cheap jokes, culminating in the world’s biggest Family Guy episode. It tries so hard to be clever, it just ends up being cringe.
    • 73 Metascore
    • 42 Reviewed by
      Ty Burr
    Cavalcade
    It’s rife with fey, unintentional camp like the scene in which a newlywed couple pledge eternal love on the deck of an ocean liner — only to move away and reveal a life preserver labeled Titanic. Cavalcade really won its Oscar because of Hollywood’s raging Anglophilia — the insecure sense that if a character says, ”Let’s all have a cup of tea!” the movie must be art.
  8. Ferrari
    The film does not valorize Ferrari, but it doesn’t complicate him either. And while its racing sequences are exhilarating, it should have spent more time looking under the hood.
    • 10 Metascore
    • 42 Critic Score
    Car 54, Where Are You?
    Not even the presence of the irrepressible David Johansen (here playing the Gunther Toody role originated by the ineffable Joe E. Ross on the ’60s television show) and a paddy wagon full of engaging Noo Yawk types can pull Car 54, Where Are You?‘s woebegone comedy out of the vulgar ditch that its screenwriters drove it into.
  10. The Cut
    Despite a trio of knockout performances, The Cut is a lackluster boxing drama.
    • 51 Metascore
    • 42 Critic Score
    The Farmer's Wife
    It's technically competent but narratively sparse, with no humor or sense of urgency. Every scene feels as though it's 30 minutes long, which doesn't help its already lengthy runtime for a silent feature, with the latest restoration clocking in at almost two hours.
    • 40 Metascore
    • 42 Critic Score
    Juno and the Paycock
    Hitchcock deserves credit for putting his personal artistic flourishes aside to create a straightforward adaptation, undistracted by technical wizardry. Unfortunately, the film is essentially a vacuum with no sense of intrigue or urgency — there's practically no character development, thematic weight, artistic innovation, emotional resonance, or narrative thrust.
    • 51 Metascore
    • 42 Critic Score
    Number 17
    The story is practically impossible to follow, the direction is imprecise, and the whole thing is visually dizzying.
    • 52 Metascore
    • 42 Critic Score
    Jamaica Inn
    The film looks decent, though not as striking as any of Hitchcock's prior sound films.
    • 63 Metascore
    • 42 Critic Score
    Mr. & Mrs. Smith
    For a rom-com, it's neither funny nor particularly romantic despite the actors' best efforts.
  16. Prelude to a Kiss
    Prelude to a Kiss is squishy yet blah. It teaches the characters a lesson they don’t need to learn.
  17. When in Rome
    Sounds mildly fun, be forwarned: When in Rome doesn't even offer that.
  18. Synecdoche, New York
    I gave up making heads or tails of Synecdoche, New York, but I did get one message: The compulsion to stand outside of one's life and observe it to THIS degree isn't the mechanism of art -- it's the structure of psychosis.
  19. Orphan
    Orphan isn't scary -- it's garish and plodding.
  20. Cirque du Freak: The Vampire's Assistant
    Subplots go nowhere, and characters -- many played by well-known actors -- barely get screen time. Willem Dafoe, Salma Hayek, and Jane Krakowski are among those who are there and gone.
  21. Knowing
    If you want to know how inept the movie is...well, it's so inept that you may wish you were watching an M. Night Shyamalan version of the very same premise.
  22. Happy Gilmore
    Adam Sandler stars in a one-joke Caddyshack for the blitzed and jaded.
  23. Babylon A.D.
    When martial arts star Michelle Yeoh shows up as a pious, butt-kicking nun, you have to wonder if Kassovitz isn't accidentally cribbing from Mel Brooks, too.
  24. P.S. I Love You
    FYI, there's zero chemistry between P.S. I Love You's two commodified headliners. P.S.: The plus in the harsh grade goes solely to the divine Lisa Kudrow, delivering desperately needed laughs as the twitchy widow's husband-hunting best friend.
  25. Elektra
    Just as all regular models can't be supermodels, so all action chicks can't be superheroines. Elektra Natchios turns out to be walled off rather than mysteriously alluring; blank rather than deep.
  26. Boogeyman
    This is strictly substandard stuff, with imitative creepy noises, vertiginous camera angles, and long pauses.
  27. The Pacifier
    A yawn-by-numbers romper-room dud.
  28. King's Ransom
    Generic hip-hop soundtrack? Check. Aerial stock footage of milieu? Check. Hardy-har homophobia and misogyny? Check. Emasculated sub-Gump white dude played by Jay Mohr? Double check.
  29. The Great Raid
    The main problem? Raid lacks a center. It's an exhausted sprawl with multiple story foci, none of them terribly compelling.
  30. Dirty Deeds
    Too mild to be dirty, yet too dirty to be charming, and altogether too generic to be much of anything.
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