Entertainment Weekly's Scores

For 5,826 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 3.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Alien (re-release)
Lowest review score: 0 Mr. Magorium's Wonder Emporium
Score distribution:
5826 movie reviews
  1. Among its better tricks, Matrix Revolutions finally gets the love-story subplot of Neo and Trinity in the right proportion.
  2. Combines hugs and ''pain'' and dialogue so fakey-cute it makes your ears hurt.
  3. Howard’s film, for all of its storytelling skill, technical polish, and rousing high-seas sequences, never quite casts the spell it should. It’s too polite to give us a real feeling of life or death. Its sense of danger is watered down.
  4. We're just watching a film try to pass off misanthropic blunt-wittedness as "edge."
  5. It's just a matter of time, flashbacks, many costume and accent changes, some more jazz, and a triggering tune on the radio before the truth can set Frankie, and the audience, free.
  6. The tiny scale and armchair talkiness mark the movie as a bit of a folly, an act of idealistic hubris in today's commercial marketplace, yet that's its (minor) fascination too.
  7. Someone has finally done it -- made a sexually explicit feature that is also a genuine and harrowing work of erotic drama.
  8. It's like Woodstock without the mud, and it leaves you feeling clean.
  9. Never tickles your nasty bone, perhaps because, in an era when the gossip pages are dotted with news of celebrity prenups, the prospect of marriage as a route to instant fortune seems less scandalous than it does like business as usual.
  10. At once brasher and more frivolous, she's a lot less compelling fighting for the welfare of lab-test animals than she was crusading for her own dignity.
  11. Aside from the awesome flames and pyrotechnic scenes of crisis, danger, and part-of-the-job bravery, the movie is a quiet salute; it does its job.
  12. Refreshingly, it's actually about action, albeit arbitrary action, and how it defines us and keeps us alive.
  13. Every character in The Architect is crazily stuccoed with crisis.
  14. Earnestly ersatz down to every spangle, dance move, plot turn, and line of hokum dialogue, Burlesque is a showbiz pic for these American Idol times - a time when we agree to pretend that mediocre mimicry of better artists is good enough to keep us entertained. We agree to pretend that quality is in the eye and ear of the undemanding beholder.
  15. Annabel and Enoch learn from each other, even as time ticks away and the end draws near. Weeping is invited, but by no means required.
  16. Like its predecessor it’s an unremarkable placeholder until the next "Mission: Impossible" flick comes along.
    • 47 Metascore
    • 42 Critic Score
    This is a lost opportunity on an epic scale. The actors are so styled and the dogfights so drippy with CG that, as a period piece, the movie almost looks like it's set in the future.
  17. Costner (who's also a producer) plays to his middle-aged strengths in a role that exaggerates male weaknesses.
  18. It's an indelibly warped cartoon of lust and despair.
  19. A mood of lush romantic decadence -- sleaze made enigmatic -- hovers over Where the Truth Lies, which has a score that works so hard to evoke "Vertigo" that it may leave you dizzy.
  20. There's not a moment in Bagger Vance that can't be anticipated.
  21. A limp and sodden downer.
  22. Rising above the throng is the great wreck of Sir Peter Ustinov, who, as the canny, saucy German Prince Frederick, distinguishes both himself and the movie.
  23. Teetering on an abyss of meta-wackiness, The Last Shot -- a movie about movie fakery, based on a true story about a fake movie -- succeeds modestly where, by all rights, it should fail miserably.
  24. The movie never gives its heart freely and honestly to the satiny whirl of post-"Chicago" showbiz spectacle it so clearly wants to be.
  25. The movie meets the requirements of the "Life Is Beautiful" school; those loyal to the tougher, more stringent Osama academy of realism need not apply.
  26. Some movies make love look schematic. The Trouble With Men + Women makes those films look stunningly insightful.
  27. This Myers is more problem child than bogeyman.
  28. The characters are perfectly evolved screwups and the premise has potential. It lacks only the discipline of a 30-minute episode -- or a YouTube video.
  29. Though the filmmaker's feel for his Cuban heritage is bone-deep, it's a glazed and dolorous movie - a depressed epic.
  30. Lifting a concept isn't exactly foreign to the world of animation (what's "The Lion King" if not "Bambi" with manes?), but it isn't often a rip-off gets as blatant as The Wild, a flat-out regurgitation of "Madagascar."
  31. The only really frightening thing about the 2015 version of Poltergeist is how haunted it is by the original.
  32. A decent disaster pic comes down to the handful of colorful individuals who will live (or, depending on the prominence of their billing, die), as it has since the days of chewy disaster meatballs like ''The Towering Inferno'' and ''Earthquake.'' And the heaviest lifting in Emmerich's production falls to Dennis Quaid and Jake Gyllenhaal.
    • 47 Metascore
    • 42 Critic Score
    When Johnson is wearing the head of the slayed Nemean lion in battle, walloping enemies with his tree-trunk sized club, and heaving charging horses to the ground with remarkable ease, he's in his Rock comfort zone. But as a tortured hero hampered by self-doubt, Johnson labors.
    • 47 Metascore
    • 42 Reviewed by
      Ty Burr
    The only entertainment value is in imagining Turner's apoplexy when he watched Spader having sex with Rosanna Arquette's leg wound.
  33. Bryan Bertino, stages The Strangers' early scenes with spooky panache...But then comes the blood, the shrieking midnight chase scenes, the anything-goes over-the-top-ness. In other words, everything that we liked the movie for not being.
  34. Gere taps into his charismatic-weasel mode, but director Gregory Hoblit fills the big screen with excellent TV actors (Andre Braugher, John Mahoney, Maura Tierney) and then gives them nothing interesting to do.
  35. As directed by Dwight Little ("Free Willy 2: The Adventure Home," a morph of "The Day of the Dolphin" and "Lassie Come Home"), the tension-to-action sequences unspool efficiently.
  36. Banderas uses all his old wiles in this well-oiled, businesslike, quite clangingly violent sequel to "The Mask of Zorro."
  37. 27 Dresses is a movie geared to a pitch of high matrimonial-princess fever.
  38. It’s a shame the rest of the soap-opera story doesn’t measure up to its stunts.
  39. Writer-director Alison Murray picks at a hard, true hurt in this zombie melodrama of defloration, but nothing beyond that hurt really comes into focus.
    • 47 Metascore
    • 75 Critic Score
    Masterminds has been “coming soon” for so long it would put "Batman v Superman" to shame, but the end result is an entertaining comic thriller with physical showcases for many of Saturday Night Live’s best recent veterans.
  40. Bana and McAdams are sweet together, with matching dimples and starry eyes, and we grow eager to see them remain in the same place. In the end, that's all there is to the movie, really. It's a time-travel fantasy in search of a cozy love seat.
  41. A pulsating snapshot of America caught in a mad, liberating identity crisis.
  42. The plot is a nonsensical mess -- which just caps off the ugliness.
  43. In a series of endings, she, and the audience, are falsely promised that she can have it all. In other words, The Prince & Me is committed to the controversial American policy of No Fantasy Left Behind.
  44. The movie's mortal failing is echoed in the religious medal Pita gives Creasy in a gift of innocent, uplifting love: Finding heft or coherence within all the lugubrious agitation is a lost cause worthy of St. Jude.
    • 47 Metascore
    • 75 Reviewed by
      Ty Burr
    The film is shot in color and includes an amped-up Danny Elfman version of Bernard Herrmann's haunting score.
  45. Makes you wish that Newell and company had had the gumption to finish what they so enticingly started.
  46. Silver City may be the mustiest political-conspiracy tale ever filmed; it's like "Chinatown" rewritten by Ralph Nader.
  47. For those newbies, this update, starring peppery Disney re-do queen Lindsay Lohan as wannabe car racer Maggie Peyton, is as serviceable an introduction as any to the notion of a sentient set of wheels.
  48. Coaching from the same playbook with which they made "Rudy" and "Hoosiers," director David Anspaugh and screenwriter Angelo Pizzo create a reverent fable.
  49. Narratively preposterous and probably an hour too long, it’s the year’s first big howler. It could have been DeHaan’s "Shutter Island," but instead it’s just Gore Verbinski’s latest self-indulgent mess following "The Lone Ranger."
  50. Heaven is for Real has lots of sweet, Rockwellian imagery of small-town life and family high jinks. What it doesn't have is dramatic tension.
    • 47 Metascore
    • 42 Critic Score
    It falls apart with a slapdash final act that doesn't work as drama or action and only serves to undermine Jonah's heroics.
  51. Jaa, mesmerizing as ever to behold with his pinwheel moves, also (co)directs for the first time.
  52. This strenuously dark biographical Western plays more like a choppy, self-important miniseries.
  53. Irksome dither of an indie drama.
  54. Blair Witch is the Hollywoodication of a film that defied the industry, and it works because of the profound respect for the original that hides beneath camera work that’s too good and a cast that’s too attractive.
  55. For anyone zombified by creaky thriller clichés, Skeleton is a fine little shot in the head.
  56. It's the parental mush about trusting one's kid to make her own discoveries and blah blah blah (spoken in a Sandlerized version of a Dracula voice) that drains the movie of blood. What's left are platitudes, and Sandler singing a novelty song in a Transylvanian-accented falsetto.
  57. Most of the numbers in Rock of Ages are flatly shot and choreographed, and they look as if they'd been edited together with a meat cleaver. With rare exceptions, they don't channel the excitement of the music - they stultify it.
  58. Older and sadder, Mulder and Scully are no longer sure they've got the energy to even ask if the truth is still out there. And it feels as if Carter is skeptical, too.
  59. Like Mike has the synthetically wrapped pseudo-charm of a perfunctory ''Flubber'' sequel.
  60. There are stretches of big fun in Big Trouble, and little pleasures too.
  61. Is it, you know, fun? At times. Yet there's a rote quality to the way this half-dumb, half-sly movie resolves itself into an intentional debauch, a pileup of villainy and heavy metal. The only California dream it leaves you with is one of wretched excess.
  62. The plot and script sag like worn out chew toys just when Cats & Dogs should be in full squeak.
  63. Never harmonizes into a cinematic experience any more resonant than the average, manly, why-we-fight pic, or coalesces into a stirring cry for freedom.
  64. Efficient, uninspired sequel.
  65. One by one, each scene goes slack as the script struggles with Screenwriting 101 problems like who the main character is and what he wants -- not to mention why any of us should care in the first place.
  66. The movie should have been called Diary of a Wimpy Forrest Gump. It's genuinely soft-hearted (you're all but guaranteed to cry) but mush-brained, too.
  67. The big goofball relies too much on the funny hair and swingin' postures of the era as punchlines in themselves.
    • 47 Metascore
    • 42 Critic Score
    Jackson is the best thing here.
  68. Calculatedly soppy, seasonally phony Americanized remake of Giuseppe Tornatore's 1990 "Stanno Tutti Bene."
  69. He does an okay imitation of his father's languidly matter-of-fact dreamscapes, but it's hard to deny that a certain vitality is missing in Tales From Earthsea.
  70. The depth of the story and the characters is awfully slight to bear the weight of such fancy editing. But the performances are crisp and in focus, with Cox in particular showing a photogenic feel for expressing grief.
  71. That Just Like Heaven succeeds at all - at least for teenage girls with limited interest in the drafting of living wills - is due entirely to Witherspoon's can-do charisma.
  72. The whole movie is a diversionary activity. It's trash so compacted it glows.
  73. Argues on behalf of the Darwinian theory that all of life imitates high school...But the argument is only halfhearted. Just Friends is much more interested in - and hilarious about - the small nostalgias of suburbia.
  74. Yet despite its promising pedigree, Dangerous Minds has a slick, syrupy fraudulence -- it's like an Afterschool Special made for MTV.
  75. A highly calculated act of mischief that sounds like a stunt cooked up for Howard Stern's radio show.
  76. While we can agree, for the sake of Iberian-American cinematic friendship, to go along with the whole simplified 1960s swinger premise and ''The Jackie Gleason Show'' choreography, we can also long for the comparatively nuanced 1990s swinger premise of ''Friends.''
  77. The ethical, independent-minded kid has his unhip charms, and so does Hey Arnold! The Movie.
  78. The frustration of this good-hearted, off-key warble of an indie, written by Rose with Robert Cary, who directed, is that the filmmaking pales when compared with the classic elements of 1950s and early '60s romantic musicals to which it pays homage.
  79. There’s never any doubt that this will end badly for the lovers. But just in case, Jessica Lange as the fire-breathing mother-in-law seals the deal.
  80. It's the showy story, script, and even staging that wear a fella out in this relentlessly precious feature debut by writer-director Jordan Roberts.
  81. It has been put together with just enough efficiency to qualify as an oddball labor of love.
  82. The dilemma of The Dilemma is that the conundrum at the center of the story isn't particularly hilarious.
  83. Jon M. Chu (several Step Up movies) has taken over directing duties from Louis Leterrier, and he has a lighter, goofier touch. He seems to get that the silliness is baked in.
  84. Payback is a thriller so mean and degraded it carries a low-down, vicious charge. Sadism is its only real subject, and its only real life as well.
  85. Figgis never frees the play enough from the stage to fill the screen.
  86. Director Betty Thomas demonstrates her expertise at keeping indulgence at bay in even the coarsest of comic situations.
  87. In a movie like this one, a little madness is its own Holy Grail.
  88. As long as it stays in the air, Red Tails is a compelling sky-war pageant of a movie. On the ground, it's a far shakier experience: dutiful and prosaic, with thinly scripted episodes that don't add up to a satisfying story.
  89. If I Stay never bothers to go after authenticity when there's a cliché hovering nearby. That may not be enough of a drawback to prevent teenage audiences from lapping up the movie with a spoon, but they certainly deserve better.
  90. Writer-director Oskar Roehler spends all his energy on cataloging ''outrageous'' behavior, and none on giving the transgressions any meaning.
  91. It's young-Hollywood-driven business as usual in this derivative, nasty, and ultimately empty drama.
  92. Union, who looks so chic and can talk so bitchy-funny, doesn't so much establish a character as roll out a series of attitudes. That's all she's called on to do. That's all anyone is called on to do: Be very tame, and make much ado about zilch.
  93. Ryan radiates neither desire nor terror. She's freeze-dried in a world of lifelessly abstract feminine fear, and so is the movie.

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