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. Abandon
    Sometimes, typecasting works: Holmes and Bratt settle comfortably into their roles, and the movie proves a competently made, mildly diverting collegiate thriller -- at least until its all-too-predictable ''twist'' ending.
  2. Humanité
    It ought to be seen, because it's a work of moral and spiritual mystery.
  3. The Emperor's Club
    A traditionally dressed, old-fashioned drama, starring Kevin Kline in the Robin Williams role -- is as much about the moral development of the adult as about his boys'. More so, maybe.
  4. Good Boy!
    Little is asked of talking-animal movies, save charm, heart, and at least one scene where said animal wears a lampshade. Good Boy! has all those things, plus a winning story line.
  5. L'Auberge Espagnole
    The atmosphere of gentle communal chaos is authentic enough to become the movie's dramatic center.
  6. The Tic Code
    Badly lit and at times, awkwardly inspirational, yet there's real feeling in it, especially when the movie suggests that Tourette's syndrome is every bit as pure an expression of the spirit as it is a ''disorder.''
  7. Bossa Nova
    The air smells sweet and there's a thrumming beat in Bossa Nova.
  8. The Gift
    It's got the pleasing proportions of a stocking stuffed with agreeable little treats in the absence of an exciting big surprise.
  9. Nowhere in Africa
    Audience empathy for the displaced Redlichs, coupled with the filmmaker's proffered charms of wise natives and their mysterious rituals, goes a long way toward making this lyrical travelogue a crowd pleaser.
  10. Johnny English
    The hilarious Malkovich, coiffed in an artful pageboy and savoring a fruity French accent, would overpower the competition on sheer thespian madness.
  11. Along Came a Spider
    Broody fun.
  12. Crazy/Beautiful
    Dunst, in her finest performance yet, has now transcended her fellow teen stars. She is arguably the first actress of her generation poised to take on Gwyneth and Julia.
  13. Prey for Rock & Roll
    An ingratiatingly scrappy little movie. It's been cobbled together out of a great many conventional crises (drugs, abusive boyfriends, heartless girlfriends, a looming record deal), yet there's a tough and appealing vitality to the way that it embraces the petty ego-tripping and party-down squalor of the rock lifestyle and stands apart from it at the same time.
  14. Together
    To contextualize the story's lack of subtlety, it helps to see these casting choices as ongoing penance for the time when, as a boy, Chen denounced his own father to the Red Guard.
    • 59 Metascore
    • 75 Critic Score
    Sliding Doors
    The story is hackneyed, and the gimmick only doubles the dullardry.
  16. Trembling Before G-d
    While the compiled testimony is strong, some larger context is missing.
  17. Sorority Boys
    There are moments of real funniness in this smarter-than-anticipated goof-fest.
  18. Spy Kids
    It's Alan Cumming who takes over the movie as the impish mastermind Fegan Floop.
  19. How to Deal
    Moore makes Halley's awakening organic and touching. In an age when most teenagers are up to their eyeballs in postmodern consumer glitz, her movies seem radical not just in their retro squareness but in their unfashionable embrace of faith over ironic flippancy.
    • 57 Metascore
    • 75 Reviewed by
      Ty Burr
    What's Cooking?
    Like the meal itself, the movie's both filling and familiar.
    • 62 Metascore
    • 75 Critic Score
    The Abyss
    The Abyss ends with a whimper. But it starts out with a bang that lasts for an exciting hour and a half. And that's enough to make it worth taking the plunge.
  22. Frailty
    Against all odds in heaven and hell, it creeped me out just fine.
  23. L.A. Story
    The trouble is, nothing about this couple is particularly rooted in Los Angeles. The love affair has a bland, generic feel. What's more, the picture lacks verve.
  24. Better Luck Tomorrow
    Lin works with a rhythmic observational flair that outweighs the movie's flaws. It's a long way from Long Duk Dong.
  25. Confidence
    Confidence may be mannered at times, but its shell-game plot is alive with organic trickery.
  26. What Women Want
    Gibson, in a disarmingly nimble, fast break performance, makes Nick's new hyperempathy look like the essence of virile panache.
  27. The Dinner Game
    Veteran French farceur Francis Veber proves that feature-length idiot humor is not limited to the Farrelly brothers.
  28. Pi
    The movie's freakazoid intensity gets to you, but there's something at once cramped and show-offy in Aronofsky's refusal to even slighty vary its atmosphere of shock-corridor burnout.
  29. American Movie
    A tacit auteur-to-auteur endorsement of the inalienable right to make movies--regardless of talent or sobriety or adult responsibilities--is what gives American Movie its uneasy kick.
  30. Varsity Blues
    The movie is also brisk and wholehearted and smarter than you expect.
  31. The Wood
    A genial story of friendship among three young African-American men that gets far on charm even when the cinema technique falters and stalls.
  32. S.W.A.T.
    Aware of its own cuteness because the dialogue plays by the rules of meta-entertainment.
  33. The Piano Teacher
    The audience for this grimly disquieting film is, or ought to be, self-selecting.
  34. Evolution
    Visually witty and even marvelous when it comes to depicting the spectacular creatures evolving at a speed previously known only in the Bible.
  35. Torque
    The movie is a guzzle of yahoo-Mountain Dew empty-calorie satisfaction: A quick blood-sugar high, an eyeful of bikes and bosoms, and you're out of the theater in 80 minutes. And on a bleak winter's day, that can be meal enough.
    • 86 Metascore
    • 75 Critic Score
    sex, lies, and videotape
    Compulsively watchable.
    • 47 Metascore
    • 75 Critic Score
    Psycho
    The film is shot in color and includes an amped-up Danny Elfman version of Bernard Herrmann's haunting score.
  38. The Prince of Egypt
    Moses was elevating mankind to a place closer to God, but when the Red Sea parts here, the feeling it gives you isn't awe; it's closer to deep impact.
  39. Groove
    What's infectious about Groove is the friendly, almost innocent way that its brat pack of digital-age bohemians seek liberation in a world where there is nothing left to rebel against.
  40. The Horse Whisperer
    All the nuggets of spoken wisdom rattle around with a tad too much space and (at 2 1/2 hours plus) too much length.
  41. Grazia's Island
    For all Golino's comeliness, she's upstaged by the windy beauty of the landscape, and by Crialese's attention -- in an Italian neorealist way -- to the routines of daily life in an insular, traditional culture.
  42. Austin Powers in Goldmember
    Mike Myers and Austin Powers may stick to their old Beatle boots, but they've both come a long way, luvvy. For proof, just look at all the A-list celebrities-I-won't-mention happy to crash the party.
  43. Austin Powers: The Spy Who Shagged Me
    As a character, Austin Powers hasn't worn out his welcome, exactly, but he has outlived his novelty.
  44. Austin Powers: International Man of Mystery
    A little of this sort of thing goes a long way, but no one does it better than Myers.
  45. Hard Eight
    Writer-director Paul Thomas Anderson crafts a plot of manipulation and chance, in which some zigs and zags are more convincing than others. Still, his feel for scuzz, for people living at the raw extremes of appetite, is palpable.
  46. The Parent Trap
    The natural, pleasurable 1990s hipness [Lohan] brings to her assignment is therefore all the more impressive. Hayley-holics should be grateful to this new girl at camp too.
  47. Picture Perfect
    Another contemporary story about a woman with a successful career punished with a lousy personal life.
  48. Wild Things
    A tricky-bordering-on-gimmicky film noir with a glaze of soft-core kink.
  49. Big Trouble
    There are stretches of big fun in Big Trouble, and little pleasures too.
  50. Mambo italiano
    This is feel-good filmmaking, to be sure, but the culture clash here is more than a meaningless vehicle for fizzy wish fulfillment. The not-unpleasant result is hearty Italian fare with the half-life of Chinese takeout.
  51. The Full Monty
    The comic moments in this ingratiating bit of malarkey from director Peter Cattaneo and screenwriter Simon Beaufoy (both TV trained, both making their feature debuts) are winning.
  52. 8 Women
    The result is weightless entertainment that's both camp and true, a warped adoration of star-quality actresses as amazing creatures who can project the lives of fictional characters as well as the essence of their own fabulous selves.
  53. Miracle
    Miracle -- the title taken from TV announcer Al Michaels' famous game-clinching cheer, ''Do you believe in miracles? Yes!'' -- wins not when it exhorts by word but when it shows by action.
  54. 50 First Dates
    As a comedy, 50 First Dates is standard Sandler, but as a love story it left me pleasantly buzzed, if not quite punch-drunk.
  55. The Insider
    A good but far from great movie because it portrays truth telling in America as far more imperiled than it is.
    • 50 Metascore
    • 75 Critic Score
    SLC Punk!
    For a while, angry young Stevo (Lillard) turns his quest for total anarchy into a grungy, giddy, randomly violent rave. Then reality creeps up and, well, it bites.
    • 71 Metascore
    • 75 Critic Score
    October Sky
    Duller than rocket science and more reliant on formulas.
  58. Desperado
    The camera loves Banderas -- a velvet stud -- as much as it did the young Clint Eastwood.
  59. The Green Mile
    Excessive, but I, like Mr. Jingles, can't resist the Christmas-season cheese.
  60. Jim Brown: All American
    From what we can tell, Brown was a dancer, all right, in life as well as on the field -- a dancer with a powerful forearm, one that Lee covers in protective padding.
    • 66 Metascore
    • 75 Reviewed by
      Ty Burr
    The Breakfast Club
    From the neon-sign opening titles to the derivative angst of the dialogue, it's a touchstone of '80s pop culture, and a schizophrenic one, too.
    • 67 Metascore
    • 75 Critic Score
    Enemy of the State
    A high-adrenaline, high-concept action thriller that mixes hot-button issues of privacy and surveillance, easy-to-identify good and bad guys, attention-getting stars, and well-choreographed chase scenes.
    • 78 Metascore
    • 75 Reviewed by
      Ty Burr
    The Princess Bride
    Reiner's penchant for hip little riffs -- Billy Crystal as a yiddish wizard, etc. -- dilutes primal power in favor of genial fun.
  64. Twister
    And for a movie that stars acts of God, this work of mortals provides surprisingly little liftoff. The stuff that whips through the angry skies in Twister is the most exciting part of the spectacle. Essentially, we're turned on by debris.
  65. Gangster No. 1
    A canny, derivative, wildly gruesome portrait of a London sociopath who's the scariest of sadists, in part because he's also a very courtly one.
  66. Road Trip
    Slick, reasonably amusing, never asking its audience to swallow anything too wild for consumption.
  67. Bon voyage
    Bon Voyage arrives like one of those old soldiers who stumbles from his hiding place unaware that the war is over and the world has changed -- and with it, French cinema.
  68. Monsieur Ibrahim
    The movie is sometimes profound in its simple, optimistic message of friendship -- and sometimes it's plain simple.
  69. Carandiru
    Lays on the compassion a little thick, yet its heartfelt squalor stays with you.
  70. Charlie's Angels
    Charlie's Angels is finally Cameron Diaz's movie. Her Natalie has a heart as insecure as her body is smokin'.
  71. Prisoner of Paradise
    Gerron's terrible film was never shown in the places it was meant for, but in Prisoner of Paradise it reveals a queasy corner of the Nazi mind that tried to imagine a concentration camp as it fantasized the inmates might have.
  72. Message in a Bottle
    On paper, the movie sounds unbearably schlocky, but Costner plays Garret the reluctant backcountry prince as mythic but also foxy and life size.
  73. Wattstax (re-released)
    I wish I could say that Wattstax was an ecstatic soul celebration, but most of the performances, while enjoyable, fall short of memorable.
  74. Antwone Fisher
    Intense but dignified.
  75. Dead Alive
    A gonzo splatterfest from New Zealand that manages to stay breezy and good-natured even as you're watching heads get snapped off of spurting torsos.
    • 62 Metascore
    • 75 Critic Score
    The Mask of Zorro
    This pleasant movie anachronism, an assemblage of traditional Robin Hooded scenarios (and superior swordplay) that, in the right light, is a nostalgic treat, and in shadow evokes Monty Python.
  77. Monster
    In Monster Theron undergoes one of the most startling transformations in the history of movies.
  78. Signs & Wonders
    Jonathan Nossiter's second feature (after the intricate and haunting ''Sunday'') strikes unnerving chords of mystery and dismay as it fuses the sinister, jump cut dislocations of a metaphysical thriller like ''Don't Look Now'' with a pain soaked meditation on love, guilt, marriage, and adultery.
  79. Spy Kids 3-D: Game Over
    It's ''The Matrix'' meets ''TRON'' meets ''Jimmy Neutron,'' with all the cheery (if not cheesy) evanescence of a Jolly Rancher commercial. I mean that as a compliment.
  80. Swordfish
    A good movie? Hardly. But more than enough to pass a dog day afternoon.
  81. Backdraft
    Fire, as this movie makes clear, is nothing if not photogenic, and Howard has done a beautiful job of conjuring both its danger and its deceptive, primal beauty.
  82. The English Patient
    Lusts for catharsis yet never quite gets there, because, for all of its bitter romantic anguish, it ultimately coalesces in your head rather than your heart.
  83. Catch Me If You Can
    The film's charm ends up worn out by the very perfection of Frank's con. We look at this teen wizard of rotating identity, and we realize we know everything about him except who he is.
  84. Down with Love
    Could have used more of the shimmering elegance of the Day-Hudson comedies. Those movies had a true sparkle. This one's a likable piece of costume jewelry.
  85. Halloween
    Carpenter's brutally efficient exercise in tension and release.
  86. Private Parts
    Shaped and softened by producer Ivan Reitman, screenwriters Len Blum and Michael Kalesniko, and director Betty Thomas, however, the movie-star Stern is a defanged tiger, funny but tranquilized.
    • 70 Metascore
    • 75 Critic Score
    eXistenZ
    Typically icky and unusually witty.
  88. 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.
  89. Arlington Road
    Slippery issues about trust, parental responsibility, and the inalienable American right to personal and political freedom are ceded to Hollywood's inalienable right to stage high-pitched chase scenes and a shocking big finish.
  90. Love & Sex
    The Dutch born Janssen sparkles serenely.
  91. Grass
    This jovial tour through changing attitudes toward cannibis is so plugged into pothead logic that the opening credits are rerun at the end.
  92. The Rundown
    The Rundown is actually a lot of fun, mostly because The Rock, simply by standing there and being The Rock, cancels out Scott entirely.
  93. Iris
    The movie's most artful feature is the fluidity with which the past slides into the present, echoing Murdoch's own unmoored sentience, so that the younger self, played with dash and vigor by Kate Winslet, turns into the old woman lost in her own home.
  94. Secrets & Lies
    A crowd-pleaser, all right, but, for all its appeal, a naggingly sanctimonious one.
  95. Flirting with Disaster
    Flirting is a little too weighed down with stage business to soar. But episode for episode, it's one of the ha-ha-funniest movies currently around.
  96. Bright Young Things
    Both script and direction are the work of the glittering comedic polymath Stephen Fry.
  97. The Hunting of the President
    The film is a sobering chronicle of the depressing circus of persecution and pseudo-scandal that was the Clinton years. But why did the President provoke such ire? A movie with insight into that might actually feel new.
  98. Spy Game
    The film is brimming with plots, counterplots, dossiers, and sinister corrupt priorities, all held together by the telephoto obsidian gloss of Scott's look-ma-no-pauses style.
  99. Spider
    Fiennes' very skin participates in the project -- his fingernails are nicotine-stained the color of tea bags. The performance works; it's a ballet, a concerto of big, big Acting.
  100. 28 Days
    Bullock gives it her all; she's bristling and alive on screen in a way that she hasn't been since ''Speed.''
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