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. Heretic
    Never has pondering theology been so devilishly entertaining — and amen to that.
  2. Burden of Dreams
    Herzog’s death-defying endeavor (executed with the help of an indigenous Indian tribe, not special effects) is the basis for Burden of Dreams, Les Blank’s lyric chronicle of the film’s four-year evolution.
    • 89 Metascore
    • 83 Critic Score
    Sullivan's Travels
    Preston Sturges’ most famous film, Sullivan’s Travels, may not match the sleek perfection of his ”Lady Eve,” but its endlessly fertile and still influential fusion of satire, screwball comedy, drama, and slapstick (most recent homage: the Coen brothers’ ”O Brother, Where Art Thou?”) remains tartly fresh.
  4. The Friend
    It gracefully captures the remarkable, singular relationship that human beings share with their pets, tapping into the poignancy and warmth that comes from such a bond.
    • 84 Metascore
    • 83 Critic Score
    Trafic
    There’s a balletic car crash, a faux-dead-dog gag, a joke involving a baby’s bare bum, and…oh, treat yourself and see it.
  6. Jurassic World Rebirth
    Jurassic Park Rebirth is one of the more successful and satisfying entries in the franchise precisely because it, uh, finds a way to keep Loomis’ mantra close, foregrounding the film’s sense of wonder above a mere blatant cash grab.
  7. Companion
    Bathed in a pink-pop glow, its pastiche of romance and horror collide in a viciously mischievous parable of technology and control that speaks to these most anxious times.
  8. Lilo & Stitch
    It’s less a Hawaiian rollercoaster ride and more a winsome, feel-good flick about what it is to find one’s family— and to, in turn, be found.
    • 63 Metascore
    • 83 Critic Score
    How to Get Ahead in Advertising
    Robinson takes on a few too many satirical targets, but star Richard E. Grant gives a great over-the-top performance. It’s hard to dislike a film where a giant zit gets all the best lines.
  10. Materialists
    Materialists doesn’t offer any easy answers despite delivering on its romantic premise.
  11. Nonnas
    Formulaic, dare-I-say-sappy movies, when done right, can be really good, and Nonnas is one such example.
    • 65 Metascore
    • 83 Critic Score
    Easy Virtue
    The courtroom scene that opens the movie is both exciting and technically marvelous, cleverly integrating flashbacks to clearly communicate the misfortune the main character has endured. The domestic melodrama that follows isn't as flashy or fast-paced, but it's perfectly fine, highlighting the cruelty of the wealthy class.
    • 63 Metascore
    • 83 Critic Score
    The Manxman
    Hitchcock's final fully-silent film is one of his greatest early works.
    • 86 Metascore
    • 83 Critic Score
    Hard Boiled
    All this would be overkill if it weren’t for the fact that Woo’s use of freeze frame and slow motion serves to make Hard Boiled even more of an art-house action movie than any of its predecessors.
  15. Avatar
    As visual spectacle, Avatar is indelible, but as a movie it all but evaporates as you watch it.
  16. Shutter Island
    Shutter Island holds you, but it doesn't grip you. It's as if Scorsese had put his filmmaking fever on psychotropic drugs.
  17. The Wolfman
    Del Toro, with his melancholy-brute features, endows this raging beast with some of the ''Why me?'' poignance you may remember from Lon Chaney Jr.'s performance in the original.
  18. Edge of Darkness
    His (Gibson) slow-burn fury keeps the movie going, but not enough to invest us in any justice beyond payback.
    • 45 Metascore
    • 75 Critic Score
    Extraordinary Measures
    Hardly an extraordinary movie. In fact, it's hard to believe that this schmaltzy film found its home on the big screen rather than the Hallmark Channel. But I dare you not to feel something at its conclusion.
  20. Inglourious Basterds
    In Tarantino's besotted historical reverie, real-life villains Adolf Hitler and Joseph Goebbels are played as grotesque jokes. The Basterds are played as exaggeratedly tough Jews. The women are femmes fatales.?
  21. 2012
    God forgive me, but I enjoyed the nerve-racking silliness of this newest, loudest exercise in destruction.
  22. The Idiots
    A highly calculated act of mischief that sounds like a stunt cooked up for Howard Stern's radio show.
  23. Surrogates
    There's fun robot stuff, some good philosophical ideas, and a brief, nutty Willis-Ving Rhames reunion 15 years after "Pulp Fiction."
  24. Ninja Assassin
    Let's be honest, killing is this film's business...and business is good.
  25. This Is It
    This Is It offers a raw and endearing sketch of a genius at work.
  26. The Informant!
    In The Informant!, that brain -- screwy and yet capable of doing important undercover work -- free-associates like Ellen DeGeneres on a swing through Walmart. Cute, but as even Agent 86 would say in "Get Smart": Missed it by that much.
  27. AVPR: Aliens vs Predator - Requiem
    Aliens vs. Predator: Requiem is a B movie that truly earns its B.
  28. Planet 51
    Delivers a few pleasant surprises, including a smart story -- a reverse-E.T. riff that plops an American astronaut down in a world of just-like-us-only-green creatures -- and clever characters.
  29. The Hangover
    Overall it's more amusing than hilarious.
  30. New York, I Love You
    These tales are as highly designed as fashion layouts. But they're as relaxing to thumb through as those NYT Magazine trend pieces.
  31. Slumdog Millionaire
    Slumdog Millionaire is nothing if not an enjoyably far-fetched piece of rags-to-riches wish fulfillment.
  32. Transformers: Revenge of the Fallen
    The sequence serves no real purpose beyond dazzle for dazzle's sake, but when you're watching it, that's purpose enough.
  33. Twilight
    On screen, Twilight is repetitive and a tad sodden, too prosaic to really soar. But Hardwicke stirs this teen pulp to a pleasing simmer.
  34. Apocalypto
    There's so much dark material jammed into this complicated, conflicted, challenging, and charismatic man's (Gibson) own noggin that sometimes he knows not, I think, what he's done. Here, behold, Mel Gibson has made the weirdest, most violent movie of the year.
  35. Astro Boy
    A marvelously designed piece of cartoon kinetics.
  36. Ratatouille
    Ratatouille is a blithe concoction, as well as a miraculously textured piece of animated design.
  37. The Brothers Bloom
    This time we expect to be played, but the twist is that we're also touched -- which, the film implies, is the cinema's own form of deception.
  38. Superbad
    Superbad is cute if you like guys who aren't even remotely bad, in a coming-of-age tale so old-fashioned the girls might just as well be wearing bloomers.
  39. Perfume: The Story of a Murderer
    Perfume misses some of the subtler base notes of Süskind's creepier, more self-aware original, but Whishaw and Tykwer blend the movie into something quite heady in its own bottle.
  40. Atonement
    In the end -- an ending of such power and narrative originality (in both book and movie) that those who know it ought never breathe a word to those who don't.
  41. Duplicity
    Duplicity doesn't have depth -- but it does have Julia Roberts, in full Hollywood movie-star mode.
  42. Away from Her
    Munro's stark lily needed none of this gilding.
  43. 300
    Look, but don't be touched: There is much to see but little to remember in this telling of a battle we are meant never to forget.
  44. V for Vendetta
    As a fix of pop iconography, V for Vendetta is eyeball grabbing, even if it lacks the relentless videogame bravura that sold the Matrix films. As a movie, however, it's merely okay, with a pivotal dramatic weakness: Evey, for all the attentions of her revolutionary Svengali, remains, in essence, a bystander, and Portman, her head shaved, plays her like Joan of Arc as a tremulous Girl Scout.
  45. Coco Before Chanel
    Tautou is a fascinating, unsmiling, petite presence with a severe brow and an androgynous appeal, so much so that I wish Alessandro Nivola (Junebug) were a more robust beau as Arthur ''Boy'' Capel, the love of Chanel's life.
  46. Downfall
    If I respect Downfall more than I was enthralled by it, that's because its portayal stops short of revelation. Once you witness Hitler's denial, the film has little more to say about him.
  47. Face
    Face becomes a study of the immigrant embrace of freedom in America - a bridge built over time and generations.
  48. Hostage
    My new theory is that Willis' own aesthetic soul is more old-world than he knows, and that he works best with directors who either are (Luc Besson) or might as well be (M. Night Shyamalan) European.
  49. The Upside of Anger
    The Upside of Anger is overly therapized, yet Costner and Allen show you what it means not just to play a role but to inhabit it.
  50. Mail Order Wife
    It took gifted hucksters to make this movie, a funny and spirited - what to call it?
  51. Off the Map
    This is a character study more than a forward-moving drama, plopped down with exquisite photographic care in a beautiful New Mexico desert, and starring good actors who make a feast of their flavorful roles.
  52. Fifty-Fifty
    Working from a script cowritten with accomplished Siberian filmmaker Sergey Bodrov, the director creates a taut picture of a place, and a liberating moment of choice.
  53. Major Dundee (re-release)
    If you want to see the missing link between John Wayne's squint and Clint Eastwood's sneer, look no further than Charlton Heston in Major Dundee.
  54. The Hitchhiker's Guide to the Galaxy
    At selected moments the Pee Wee's Playhouse-scaled visual goofiness and flights of thespian bravura in this long-awaited movie adaptation of Douglas Adams' goofy-wise cult classic are in perfect celestial harmony with the existential tomfoolery of Adams' peerless (and peerlessly Monty Python-British) creation.
  55. xXx: State of the Union
    This is a B movie rooted in gut-level stirrings of power and retaliation.
  56. 3-Iron
    3-Iron is like a Raymond Carver story that slowly, inexorably takes on the dimensions of a ghostly fairy tale.
  57. Death of a Dynasty
    An amiably raucous, scorched-earth mockumentary.
  58. Mad Hot Ballroom
    A testament to the discipline, humor, and life of kids who swing.
  59. Tell Them Who You Are
    Beneath its exploration of fatherly distance, this is really a portrait of why cranks make better artists than earnest nice guys.
  60. A League of Ordinary Gentlemen
    If you want a whiff of how unironic the 1970s were, consider bowling, a sport that on any given weekend was broadcast (usually on ABC) with the hushed solemnity of a moon launch.
  61. Rock School
    I'd be lying if I didn't admit that Rock School, Don Argott's amusing and spirited documentary, would seem a heck of a lot niftier if its fire hadn't already been stolen by "School of Rock."
  62. Apres Vous (After You)
    Suicidal depression has rarely looked so amusing.
    • 70 Metascore
    • 75 Critic Score
    Pure
    Pure belongs to Eden, a remarkably strong child actor, and Deadwood's Molly Parker, broken and affecting as his sweaty, gear-crazy mum.
  64. The Great Water
    An anguished Macedonian drama.
  65. Herbie Fully Loaded
    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.
  66. Tropical Malady
    It took me two viewings to enjoy the landscape of Weerasethakul's mysterious jungle -- so very thick, steamy, and foreign -- without wishing for clearer trail markers.
  67. The Beautiful Country
    Inside the Norwegian director's glove of empathy is a fist of unappeasable anger.
  68. Saraband
    Anyone expecting a tender sunset elegy, however, has wandered into the wrong film. Saraband, despite a few wistful moments, is a poison pill of a reunion.
  69. Chronicles
    The moral murk of Crónicas would be more effective if the story weren't so contrived, yet the movie is worth seeing for Leguizamo's sinewy urgency, Alcázar's desperate cleverness as the killer, and the squalid, frantic atmosphere of Latin American hunger.
  70. Last Days
    There is a method to its madness, since the madness here is really Cobain's. Last Days mythologizes his suicide as a haunting act of fulfillment: the consummation of a life that had already ceased to be.
  71. Balzac and the Little Chinese Seamstress
    Enlightenment is good, Dai acknowledges. But the movie's more provocative assertion is the notion that ignorance was also a kind of bliss.
  72. The Skeleton Key
    For anyone zombified by creaky thriller clichés, Skeleton is a fine little shot in the head.
  73. Darwin's Nightmare
    Darwin's Nightmare points an all-purpose finger at globalization, yet the movie, as raw and vivid as it is, meanders terribly and - bigger problem - never hints at how the disasters it shows us are rooted in Africa's colonial past.
  74. Duma
    Ballard connects you to the beauteous inner calm of the wild, even if audiences today are looking for a lot less calm.
  75. Clean
    Not your average divorce gift: Clean's writer-director Olivier Assayas created the role of recovering rock-world druggie Emily Wang for his ex-wife, art-house/action-pic royalty Maggie Cheung (In the Mood for Love).
  76. Games of Love and Chance
    The vérité fascinates, even if the artifice is obvious.
  77. Cote d'Azur
    The performances are mediocre. The heart is big. The weather is swell.
  78. Corpse Bride
    As an achievement in macabre visual wizardry, Tim Burton's Corpse Bride has to be reckoned some sort of marvel.
  79. Serenity
    Jaw set but never stiff, he (Fillion) gets both the Whedon wit and the Whedon grandiloquence between cheek and gum, and gives the whole enterprise the heft of a real saga.
  80. Going Shopping
    Going Shopping is sharp and funny about all the things that shopping can mean to the women who live to do it, and even to those who don't.
  81. North Country
    Might have been richer, tougher, more honestly liberal if it had revealed a few more shades of gray among the men.
  82. New York Doll
    This makes for a modestly touching journey, but New York Doll, in its wafer-thin way, is an oxymoron: a hagiographic tribute to a rocker with more passion than talent.
  83. The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
    The movie, for all its half-baked visual marvels, remains remarkably faithful to Lewis' story, and the innocence of his passion begins to shine through. It's there, most spectacularly, in Aslan, the lion-king messiah.
  84. The Family Stone
    Parker has a great time being the anti–Carrie Bradshaw while Keaton-as-matriarch is a particular joy -- funny, beautiful, elegant, touching, and at ease with a familiar, get-out-your-hankies holiday subplot.
  85. The Matador
    The cinematography is consistently hipster handsome, the script is bracing in its lewdness, and Brosnan adds no unnecessary weight to Noble's meaninglessness.
  86. The Ringer
    The surprise of The Ringer is that the movie is pretty damn funny.
  87. Casanova
    And if real eroticism is missing - this is a Disney movie, with bosoms heaving more in a gentle parody of heaving than in full desire - the great discovery of this Casanova is Hallström's recovered capacity for play.
  88. Hostel
    It's obligatory for a horror film to feature exploitative sex as an appetizer, but Roth, even as he fulfills the sleaze imperative, does something shrewder: He mocks his heroes, presenting them as cold-eyed horndog jerks who fail to see that they've wandered into an entire country of exploitation.
  89. Sophie Scholl: The Final Days
    Sophie Scholl has a certain quiet dignity that wins its audience popularity honestly.
  90. Madea's Family Reunion
    Let's not sell Tyler Perry short. As the vinegar-witted Madea, he's a drag performer of testy charm, but in his overlit patchwork way he's also making the most primal women's pictures since Joan Crawford flexed her shoulder pads.
  91. The Shaggy Dog
    The star (Allen), unleashed, is so energetic in his approximation of a bearded collie -- his nose sniffing the air, his whole being (which toggles between human and canine form) overcome by the need to fetch any stick thrown -- that his slobbery charm carries the picture.
  92. Don't Come Knocking
    Shepard's charisma has always reached back to an earlier time, so it's easy to accept him as a kind of pre-counterculture hero - Eastwood without the sneer - who aged into the era of tabloid scandal.
  93. The Beauty Academy of Kabul
    The documentary takes on its own engaging shape - one of edgy editorial and political ambivalence.
  94. L'Enfant (The Child)
    It makes sense that L'Enfant has been hailed as a masterpiece, since a masterpiece is what it's trying, in every unvarnished frame, to be. If you wandered unknowingly into the film, however, you would see this: a stark, fascinating, and naggingly detached character study.
  95. Friends with Money
    There is also a manufactured symmetry, an every-gal's-got-issues roundness, an HBO sitcomitude to the movie that undercuts its own observational intelligence.
  96. I Am a Sex Addict
    Zahedi is ruefully funny and savage in his self-exposure.
  97. Somersault
    The character can be a dolt, but Cornish is a marvel, exuding a reckless hunger and prowling with a sexuality of potent directness.
  98. Stick It
    A deliriously, defiantly unfocused headrush, Stick It is primarily an exercise in exercise.
  99. Three Times
    Do Hou's films deserve to be seen? Absolutely, if only to end the myth that they're too perfect for this world.
    • 62 Metascore
    • 75 Critic Score
    Saving Shiloh
    Saving Shiloh is like one of those wholesome, old-fashioned films that you used to watch with your third-grade classmates during visits to the library.
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