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 2.2 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. To the Wonder
    Through the character of a saddened priest, Malick seems to be saying that the reason for our breakups, for our fragmented lives and relationships, is that we can no longer see God. If we could, we would be whole again. That may be true, but in To the Wonder, it's Terrence Malick who isn't letting his characters be whole.
  2. 42
    Helgeland works in what I think of as a conservative — or maybe it's just really, really basic — neoclassical Hollywood style, spelling everything out, letting the story unfold in a plainspoken and deliberate fashion, with a big, wide, open pictorial camera eye. It's like the latter-day Clint Eastwood style, applied to material that's as traditional as can be.
  3. Trance
    I love a good mind-bender, but it's getting more common these days to see thrillers that don't so much bend your mind as chop it, smash it, and place it in the Cuisinart. Trance, the new film directed by Danny Boyle is a high-brainiac art-world thriller that wants to do nothing more (or less) than give your head a majorly pleasurable spin.
  4. The Company You Keep
    Shia LaBeouf, who appears to be on hand to prove that a movie with a crusading newspaper reporter can still exist, perks up his scenes, and Redford acts with his usual hyperalert, placid control.
  5. Evil Dead
    The new Evil Dead's delirious gross-out scenes spoke to me, and they go further than any mainstream picture I can think of.
  6. The Host
    It's really a dramatic sinkhole.
  7. Tyler Perry's Temptation
    A few wild, third-act twists give Perry's middling melodrama some soap-opera kick. But all the finger-wagging sure does get tiring after a while.
  8. Room 237
    Room 237 makes perfect sense of "The Shining" because, even more than "The Shining" itself, it places you right inside the logic of how an insane person thinks.
  9. The Place Beyond the Pines
    It's a slow-burner that burns so slowly its wick completely fizzles out.
  10. G.I. Joe: Retaliation
    It's well-executed technocratic action fluff. But it did leave me buzzed rather than drained.
  11. The Sapphires
    The Sapphires is a movie for your heart (and your ears and moneymaker), not your head.
  12. Admission
    Admission, a likably breezy campus movie directed by Paul Weitz (About a Boy), is blissfully non-insulting.
  13. The Croods
    A handful of adrenalizing sequences of animated anarchy can't save this story from feeling overly primitive.
  14. Olympus Has Fallen
    The countdown-to-Armageddon structure generates almost no tension, but Olympus Has Fallen does have lots of squalidly bloody hand-to-hand action, all of which is so pulpy and standardthat the film actually makes you grateful for the presence of Gerard Butler, gnashing his teeth in the Bruce Willis role.
    • 51 Metascore
    • 75 Critic Score
    The Call
    Surprisingly good, and surprisingly gruesome, fun.
  16. Ginger & Rosa
    A touching drama from British art-house filmmaker Sally Potter, who broke through to wider audiences with 1992's "Orlando" and has now made her most mainstream movie yet.
  17. Upside Down
    Upside Down is a very fancy piece of junk.
  18. Spring Breakers
    Harmony Korine's first ''mainstream'' movie, Spring Breakers, is by far the best thing he's ever done.
  19. The Incredible Burt Wonderstone
    The movie itself is too cautious and unimaginative to bring off what a great magic trick — or comedy — should do: make us laugh out loud with surprise.
  20. Emperor
    Emperor explores the delicate postwar dance of revenge, justice, and realpolitik, yet its focus on the issue of Hirohito's guilt or innocence (did he order the attack on Pearl Harbor? Or did he, in fact, oppose the Japanese military machine?)
  21. Oz the Great and Powerful
    The film is stuffed with three endings too many. You can't blame Raimi for wanting to give us our money's worth. But after a while, you just want him to get to the Happily Ever After already.
  22. The Last Exorcism Part II
    Unfortunately, no one involved seems to have bent over backwards to make the movie either original or even all that scary.
  23. Snitch
    The film tries to paint in shades of gray with vague criticisms of the war on drugs, but the absurdity of its he-man Everyman plot ends up turning its moral palette a muddy brown.
  24. Stoker
    The movie wants to be Hitchcockian, but it's the flat-footed Hitchcock of "Marnie" that Park evokes. His filmmaking here is hermetic and lugubrious, with each physical movement meaninglessly heightened and every line hanging in the air with (empty) significance.
  25. Jack the Giant Slayer
    This is how a fairy-tale movie gives us our money's worth today. Even if once upon a time, it was called overkill.
  26. Dark Skies
    While there are some scares along the way, Stewart foolishly gives away the whole kit and caboodle plot-wise with an opening quotation from Arthur C. Clarke.
  27. Red Flag
    It's conventional stuff, only executed with a smart, improv-y verve.
  28. Rubberneck
    The movie is scattershot (intense at some moments, slack at others), but it earns its docu-style creepiness, and Karpovsky's stretch as an actor is daring and authentic.
  29. A Glimpse Inside the Mind of Charles Swan III
    No less sweet for being unoriginal: A guy (Charlie Sheen) mourns a bad breakup with the woman he loves (Katheryn Winnick). The execution, on the other hand, is perilously self-absorbed.
  30. The Jeffrey Dahmer Files
    The Jeffrey Dahmer Files is for hardcore Dahmer obsessives only.
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