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. Potiche
    An Orson Welles-size Gérard Depardieu does gallant work as the town's leftist mayor.
  2. Alice et Martin
    It's as if, in exploring the scars that shape these personalities, Téchiné has forgotten to color in the flesh.
  3. Smile
    Bacon is great fun as a girl on the verge of a nervous breakdown, chirping with increasing desperation that she's fine, and Finn is a pleasingly nervy stylist, letting the camera tilt and flip at seasick angles and ratcheting the tension as he goes. Smile is a pretty silly movie by any metric; still, it has teeth.
  4. Borat Subsequent Moviefilm
    If the movie's entire axis spins on the kind of extreme discomfort comedy you almost need a pillow to chew on and a pile of Xanax to get through, that's also the particular genius of Baron Cohen, an artist who instinctively knows how to hold up a mirror — and that a cracked one can show us, maybe better than anything, exactly what we need to see.
  5. Chopper
    A movie overtly designed to win attention (and not to do much else).
  6. The Adventures of Tintin
    Even a filmmaker as dazzling as Steven Spielberg has to create characters who lure us into their point of view, and the trouble with Tintin is that we're always on the outside, looking in. What all that motion can't capture is our hearts.
  7. The Conjuring
    Wan masterfully tightens the vise on the audience's nerves, using mood and sound effects for shocks that never feel cheap (the harmless kids' game of hide-and-clap has never been so bloodcurdling).
    • 68 Metascore
    • 67 Reviewed by
      Ty Burr
    Bopha!
    There’s sorrow here to fill a thousand Hollywood movies—and in the end, it swamps the boundaries of movie convention.
  9. The Meddler
    Her character, reportedly based on writer-director Lorene Scafaria’s own mother, isn’t drawn with any particular depth or nuance (and the broad New Yawk accent Sarandon tries on is about as authentically Brooklyn as a Sara Lee bagel).
  10. The World's Fastest Indian
    The cockeyed devotion with which writer-director Roger Donaldson dramatizes the story of New Zealand motorcycle legend Burt Munro and his classic 1920 bike in The World's Fastest Indian is in direct proportion to the cockeyed devotion with which Munro himself pursued his lifetime goal of setting a land-speed record at Bonneville Flats, Utah.
  11. Ask Dr. Ruth
    The new documentary Ask Dr. Ruth... seeks to give audiences an understanding of the extraordinary life that shaped this one-of-a-kind woman but falls short when it comes to digging beyond mere biography.
  12. Ghost in the Shell 2: Innocence
    The title Ghost in the Shell 2: Innocence is a brain banger. But as sci-fi nomenclature goes, it's easy to read--no twistier, certainly, than "Sky Captain and the World of Tomorrow."
  13. $9.99
    Using the droll, wise stories of Etgar Keret as her guide, Israeli filmmaker Tatia Rosenthal concocts an artful film that expresses deep thoughts, lightly.
  14. The Homesman
    With her sad, haunted eyes and ''plain as a tin pail'' looks, Swank is by far the best thing in the movie. More than most actresses, she seems unburdened by vanity.
  15. Henry Fool
    Resonant examination of friendship, fame, cultural trends, and the creative process.
  16. We Need to Talk About Kevin
    The movie is creepy, but it has no texture or depth. It's like "The Omen" directed by Miranda July.
  17. Thunderbolts*
    A lot of what works in the movie does so due to the talent of the performers. There aren't a lot of jokes or killer lines in this, but little bits of business that Pugh and Russell, in particular, make work. Harbour's loud, boorish Russian bear is funny at first, but alas, gets tiresome in a short amount of time.
  18. Leonard Cohen: I'm Your Man
    I'm not generally a big fan of tribute concerts, but this is a glorious exception.
  19. Early Man
    What comedy there is comes from Tom Hiddleston’s Lord Nooth — a miser with a head like a soft-boiled egg. But the laughs are mild at best. At least there’s director Nick Park’s playful Silly Putty visual imagination to take your mind off just how thin the story is.
  20. The East
    The East is still a compelling portrait of what gets lost (and found) when a cause becomes an obsession.
  21. Batman Returns
    Batman Returns offers many jolts of pleasure, yet it’s also a mess — a gilded sketchbook of a movie that keeps falling open to random pages.
  22. Monster House
    Kenan directs with a zingy sense of kids, comedy, fright, and visual perspective. But the movie also shimmers and shakes in all its motion-capture animated beauty with the slyly deep sensibilities of executive producer Robert Zemeckis.
  23. Black Mass
    Cooper, the director of Crazy Heart and the underrated Out of the Furnace, has made a tight and tense gangster film with Black Mass. But it’s a pretty straight-ahead entry in the genre, albeit one peppered with spicy performances.
  24. The Wave
    The visual effects are excellent, but director Roar Uthaug, who’s been tapped to reboot the "Tomb Raider" franchise, splashes in the clichés of big, dumb American action movies.
  25. The Edukators
    A fluid and gripping drama from Germany (it has the design of a thriller and the mood of a spontaneous, whirling-camera character study).
  26. Slums of Beverly Hills
    Slums of Beverly Hills has the kind of big heart, strong voice, vivid look, and original sense of humor many young artists -- particularly young female artists -- don't find until they're riper, and some never find at all.
  27. Shaolin Soccer
    Everything you've ever loved (or hated) but were afraid to laugh at in Asian martial-arts movies, ''Matrix''-ian bullet-time actioners, and Farrellyesque slapstick comedies -- all rolled into Hong Kong's highest-grossing local production ever.
  28. Noi the Albino
    Paced a bit too glacially for my taste, yet it's worth sitting through for its trick ending, a twist of events as ominous as the landscape.
  29. Goodbye Lenin!
    A funny and intermittently sharp German satire that musters gentle nostalgia for East German communism while mocking the not-so-distant past.
  30. The Hateful Eight
    The Hateful Eight doesn’t have enough ideas. Set almost entirely in a snowed-in saloon, the story’s so spare it doesn’t warrant either its three-hour running time (including an overture and intermission) or his use of 70mm projection. It’s narratively and visually claustrophobic.
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