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. Beyond the Mat
    Often has the rambling feeling of a home movie Blaustein made for his buddies.
  2. The Corporation
    The Corporation has better manners and a longer fuse than ''Fahrenheit 9/11.'' But the acerbic, sardonically illuminating Canadian documentary shares with its American cousin a certain bleak leftist glee in pursuit of its cause.
  3. Space Cowboys
    Poorly engineered: lurchingly paced, the dramatic conflicts duct taped together.
  4. Spider-Man: Homecoming
    A brightly contemporary retelling that is not so much an origin story as a coming of age: The On-His-Way-to-Amazing Spider-Boy.
  5. The Grandmaster
    Tony Leung plays Ip Man with his old-movie charisma and reserve, but the film, despite a few splendid fights, is a biohistorical muddle that never finds its center. Maybe that's because — big mistake! — it never gets to Bruce Lee.
  6. The Scandal
    Les Liaisons Dangereuses is such an elaborate and satisfying structure of deceit and salaciousness that every attempt I have seen to adapt it on film -- "Dangerous Liaisons," "Cruel Intentions," even the trashy 1959 Roger Vadim version -- has resulted in an entertainment of agreeable nasty elegance. Until now.
  7. Gran Torino
    A movie at once understated and radical, deceptively unremarkable in presentation and ballsy in its earnestness. Don't let the star's overly familiar squint fool you: This is subtle, perceptive stuff.
  8. The Killer
    Fincher is adept at excoriating the darkness of the human soul, but he's missed his mark with a character so blindly determined to prove he doesn't have one.
  9. Results
    Even by Bujalski’s shaggy standards, Results never adds up to much. Instead it just sort of sputters out and settles for a predictable rom-com ending. Conventional doesn’t suit him.
  10. Cars
    A work of American art as classic as it is modern. Note to tourists: Leave before the very end of the credits and you'll miss some of the best and funniest roadside sights.
  11. Erin Brockovich
    Roberts, in her most forceful dramatic performance, allows us to take in every moment through fresh, impassioned eyes.
  12. Zombieland
    At the bone, Zombieland is a polished, very funny road picture shaped by wisenheimer cable-TV sensibilities and starring four likable actors, each with an influential following.
  13. Red Satin
    Undoubtedly downplays the seamier, less attractive experiences of Arab women and men in Tunisian cabaret culture, and plays up the fairy-tale charm of the universal ''Flashdance'' formula in an unusual setting.
  14. Alias Betty
    A nifty, entwined, ultimately gripping adaptation of British crime writer Ruth Rendell's novel ''The Tree of Hands'' by French director Claude Miller.
  15. 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.
  16. Antz
    Sophisticated, funny, and joyously subversive animated bug epic.
  17. The Lookout
    A thriller that wheezes along on bits and pieces of ''character.''
  18. News of the World
    The movie offers few surprises and even less alacrity; and yet there's a cumulative weight to World that feels, if hardly new, still worth sitting through.
  19. The Hangover
    Overall it's more amusing than hilarious.
  20. The Square
    Only half of these setups go anywhere very interesting. The rest just feel like button-pushing stunts that, like so much of the merry-prankster conceptual art Christian champions, zero in on your intellect rather than your gut. Or, better yet, your heart
  21. The Club
    The result is expectedly harrowing and heartbreaking, making for a difficult watch that will reward those with saintly patience.
  22. The Girl Cut in Two
    Sagnier is yummy.
    • 73 Metascore
    • 83 Critic Score
    Slam
    Directed and cowritten by Marc Levin with an intentionally untidy, restless, handheld style that owes a lot to his background as a documentary filmmaker, Slam effectively gets at the deadly, no-way-out despair that can squeeze a man as he realizes he’s become a numbered nobody in the huge, imperfect justice system. Levin’s best idea, though, is to counterbalance that hopelessness with freeing blasts of verse, performed with such drama and passion that audiences may want to break into applause.
  24. Battle of the Sexes
    The symbolic power of what happened there — one small step, one giant leap for womankind — is still the movie’s truest ace.
  25. Mission: Impossible - Ghost Protocol
    Ghost Protocol brims with scenes that are exciting and amazing at the same time; they're brought off with such casual aplomb that they're funny, too.
  26. Cold in July
    Johnson ties some of the film's looser ends together and makes you overlook the ones that stay untied. Between "Eastbound & Down," "Django Unchained", and now Cold in July, Johnson has a nice little streak going of turning seemingly disposable characters into indelible scene-stealing rascals.
  27. Layer Cake
    Fast, convulsive, and densely exciting new British gangster thriller.
  28. The Company
    The key to The Company is the quiet, focused rapture of Neve Campbell, who formally trained in ballet and performed all of her on-screen dances. The tranquil delight she takes in her body becomes its own eloquent form of acting.
  29. The Widow of Saint-Pierre
    The subtle selectivity of Leconte's eye, how he moves with great control from gesture to gesture, is matched by the disciplined intensity of the performances.
  30. Ray
    As a musical biography, Ray is driven by the primal excitement of rock-and-soul at the moment of its discovery.
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