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. Forgetting Sarah Marshall
    Nakedness has rarely looked so...naked. And innately, universally comic.
  2. The Life Before Her Eyes
    Perelman pays such cooing attention to surfaces that our response to violence carries no more importance than our response to the delicate jewelry around the adult Diana's neck.
  3. Where in the World Is Osama Bin Laden?
    A primer no one needed, Where in the World Is Osama bin Laden? should have been called "The Post-9/11 World for Dummies."
  4. Expelled: No Intelligence Allowed
    Regardless of your personal views, Expelled's heavy-handed bias (a visit to Darwin's home gets the same eerie music as a tour of Dachau) is exasperating.
    • 58 Metascore
    • 75 Critic Score
    The First Saturday in May
    The First Saturday in May soon digs in its heels with acute portraits of six trainers, including a paralyzed ex-cyclist in California and an MS-stricken Lexington native who works for the royal family of Dubai.
    • 49 Metascore
    • 42 Critic Score
    Dark Matter
    Liu Ye is too inexpressive for his role's demands, and the movie doesn't build to his downfall: It just zaps itself there.
  7. Prom Night
    Viewers' own evenings, meanwhile, will likely be ruined by unimaginative direction, inane dialogue, and Schaech's passing resemblance to Forrest Gump.
  8. Street Kings
    Every so often, Keanu Reeves' robo-voiced blankness serves him well, but when he has to play a pulpy, tormented demon-saint, scraping up insults and spitting them out like bullets, he's like the host of an infomercial doing an impersonation of a badass.
  9. The Visitor
    This audaciously issues-loaded indie drama works, improbably and entirely, on account of the marvelous, often familiar-looking, rarely starring character actor Richard Jenkins and his perfect performance as a stodgy, widowed economics professor.
    • 44 Metascore
    • 50 Critic Score
    Chaos Theory
    Peddles the usual carpe diem movie bunk.
  11. Bra Boys
    Partly a straightforward surf movie with impressive wave-catching footage. However, other sections track the legal troubles of Jai Abberton, a Bra Boy who was tried and acquitted of murder. This makes for an often fascinating but awkward mix.
  12. Smart People
    Smart People, unlike "Sideways" or "The Savages," has a plot that's a little too rote.
  13. Young@Heart
    They also make joyful music, communicated, both by the singers and their playful, sensitive documentarian, with an authority that quite knocks off socks.
  14. Flight of the Red Balloon
    Juliette Binoche is outstanding as a wildly untogether single mother who parks her son with a French-speaking Chinese nanny while she whirls and worries.
  15. Meduzot
    Marvelously inventive, often-ironic Israeli storyteller Etgar Keret and his life- and workmate, Shira Geffen, spin in Jellyfish a dreamy, arty, alluringly cockeyed tale involving three unrelated women in Tel Aviv.
  16. Leatherheads
    Reproducing a period-piece screwball comedy for a modern audience turns out to be one playful, self-deprecating wink too many for the star, who also directed Leatherheads.
    • 30 Metascore
    • 25 Critic Score
    Meet Bill
    Even a hilarious turn by Kristen Wiig as the owner of a doughnut company can't save this clichéd, meandering story from playing like "American Beauty" lite.
  18. My Blueberry Nights
    Norah Jones, making her big-screen debut as a wistful wanderer, is a beautiful blank, and the fragments barely add up to a movie.
  19. Nim's Island
    It's hard to imagine kids not enjoying the good-hearted, lovingly shot fantasy of it all, and Breslin is charming, though most viewers past puberty will likely yearn to be voted off the Island.
  20. The Ruins
    The Ruins is lumpish, static, and obvious. It's a gringos-go-home cautionary fright flick done in the spirit of a cheap '50s horror movie, except that it leaves you longing for the competence of grade-Z studio-system trash.
  21. Shine a Light
    In Shine a Light, a crackling concert movie directed by Martin Scorsese, the Rolling Stones are now so old that they seem new again.
  22. Flawless
    It's left to Caine to wink and nod at his own contribution to real caper classics of the 1960s and '70s, produced with more emphasis on fun and less on instructive fact-finding.
  23. Run, Fatboy, Run
    Simon Pegg has what it takes, but he's saddled himself with a script (co-written by Pegg and Michael Ian Black) that Adam Sandler wouldn't have pulled out of his bottom drawer.
  24. 21
    The fun of 21 is the way that this sharp, hyperaware star in the making, his face as readable as a mood ring, pours us into an adrenalized cocktail of fear, desire, and mental buzz.
  25. Chapter 27
    Chapter 27 is far from flawless, but Leto disappears inside this angry, mouth-breathing psycho geek with a conviction that had me hanging on his every delusion.
  26. The Cool School
    The rare footage of '50s and '60s L.A. alone is a treasure; the City of Angels has rarely looked so hip. Bonus: cool music from the likes of Charles Mingus and the Velvet Underground.
  27. My Brother Is an Only Child
    The movie is a veritable scrapbook of tropes from the heyday of art film. Maybe that's why it feels gauzy and quaint. Yet time passes pleasantly.
  28. Stop-Loss
    A painfully polite Iraq war drama pitched at the MTV generation.
  29. Superhero Movie
    Seems to have been given the comedy equivalent of blood thinner. It has the blazing satirical boldness to skewer the first Tobey Maguire Spider-Man -- and, amazingly, not much else.
  30. Drillbit Taylor
    A failing-grade comedy about the wishful triumph of high school dorks over high school bullies.
  31. The Grand
    Each of these improv farceurs wins a few laughs. But not enough.
  32. Meet the Browns
    The importance of faith, church, kin, staying off drugs, sharing food, repenting from sin, forgiving sinners, appreciating a good black man, rejecting a bad one, and honoring black matriarchy is enumerated with typical, reassuring Perry broadness.
  33. Shutter
    Seems like a technological regression.
  34. Boarding Gate
    This one is just murk.
  35. Love Songs
    Chiara Mastroianni charms here just as her maman, Catherine Deneuve, did in Demy's 1964 classic.
  36. Under the Same Moon (La misma luna)
    The film says that the U.S. immigrant situation is untenable, but then it forces US to ask: What should be done?
    • 51 Metascore
    • 50 Critic Score
    Doomsday
    Marshall cribs whole sections from other movies (Aliens and The Road Warrior, most blatantly) so baldly that you have to wonder how he'd like it if someone ripped off "The Descent" this egregiously.
  38. Horton Hears a Who!
    If I ran the circus, the gang that made the sturdy, witty, inventively animated Dr. Seuss' Horton Hears a Who! would get first dibs on any future movie productions of the Theodor Seuss Geisel canon.
    • 39 Metascore
    • 25 Critic Score
    Never Back Down
    Movie is dopey. And with its emphasis on stupid violence, xylophone abs, and getting yourself on YouTube, it's yet another product that makes you feel bad about today's youth culture.
  40. Sleepwalking
    A soporific dud, which should have been tossed out of Sundance.
  41. Heartbeat Detector
    It's a thin line between 20th-century Nazism and 21st-century corporate culture in Heartbeat Detector, Nicolas Klotz's rewardingly chilly psychological thriller.
  42. Funny Games (2008)
    Can a movie be gripping and repellent at the same time? In Funny Games, a mockingly sadistic and terrifying watch-the-middle-class-writhe-like-stuck-pigs thriller, the director Michael Haneke puts his characters in a vise, and the audience too.
  43. 10,000 BC
    Neither grand enough to be impressive nor antic enough to be charming, the movie settles for bland and frantic, climaxing in a showdown among decadent pyramid builders. How bad are these guys? They're sadists...and, wink wink, sissies.
  44. The Bank Job
    One of the pleasures of The Bank Job is that it returns us to the days when robbing a bank was a gritty, hole-in-the-wall affair.
  45. College Road Trip
    At its best when it drops any pretense of plot for sheer goof (as when a Japanese sightseer belts ''Sister Christian'' on a karaoke tour bus), and at its worst when Lawrence manages to out-ham even his porky four-legged costar.
  46. Married Life
    Married Life congratulates its audience on a sophisticated, humorous complicity in the obvious immorality of Harry's murder plans, as well as in Richard's own ungentlemanly designs on his pal's gorgeous girl. Every adult, the movie suggests, has got a secret.
  47. Miss Pettigrew Lives for a Day
    Adams, of course, is a peach. Her sparkle requires only minor character adjustment and twinkle recharging from her recent triumph as the old-fashioned modern heroine in "Enchanted."
  48. Paranoid Park
    Paranoid Park has the slightly glum insularity of minimalist fiction, but it's the first of Van Sant's blitzed-generation films in which a young man wakes up instead of shutting down.
  49. Snow Angels
    David Gordon Green's captivating winter-chill tragedy, is a tale that encompasses murder, divorce, adultery, alcohol abuse, mental breakdown, and the disappearance of a small child. In other words, it's downbeat enough to make the recent Oscar-nominated films look like party games.
  50. CJ7
    Trivial and charmless.
  51. Blindsight
    Lucy Walker's observant film Blindsight is about profound East-West differences in the importance of journey versus destination and comradeship versus competition.
  52. City of Men
    As heavy with message as any Hollywood delinquent drama of the late '50s.
  53. Bonneville
    Ladies! Thelma and Louise drove a '66T-bird, remember?! They picked up a young male hitchhiker 17 years before you did, and they too, um, interacted with a trucker and admired magnificent American sunsets -- is it coming back to you? Nope, it's not, which is exactly why the tires are so low on this creaky vehicle.
  54. Chicago 10
    Chicago 10 is well worth seeing, if only because a good half of the film is devoted to extraordinary footage of the four days of rage that spawned the trial.
  55. The Other Boleyn Girl
    A classy romantic cocktail distinguished by its tart yet breezy bite.
  56. Penelope
    Is there anything more dull than an ineptly cynical fairy tale?
  57. Semi-Pro
    The big goofball relies too much on the funny hair and swingin' postures of the era as punchlines in themselves.
  58. The Unforeseen
    Add The Unforeseen to the catalog of artfully produced nonfiction films that show how humans are screwing up the planet.
  59. Chop Shop
    As he did in his striking 2005 first feature film, "Man Push Cart," about a Pakistani street vendor in New York, perceptive indie filmmaker Ramin Bahrani looks at what others overlook and finds drama in everyday details.
  60. Charlie Bartlett
    Robert Downey Jr. is an uncomfortable sight as the school's hard-drinking, overstressed principal.
  61. The Signal
    Mostly comes down to rage fiends going at one another with baseball bats, knives, pesticide tanks, and power drills.
  62. Be Kind Rewind
    There's nothing not to like about the movie, a teensy, hand-crocheted trifle, fitted with embroidered pockets of guest stardom, including Mia Farrow as the nice local lady who wants to see what "Ghostbusters" is all about and "Ghostbusters'" own Sigourney Weaver as a movie-studio corporate meanie, ha-ha.
  63. The Counterfeiters
    Without doing anything so divisive as taking sides, The Counterfeiters pays sympathetic attention to those who play their cards to win even when the rules are terrible, not least because the remarkable Markovics, an Austrian TV actor with a pugnacious anvil of a head, is so riveting as an unsaintly survivor.
  64. Vantage Point
    Vantage Point starts to slide off the rails when it tracks a tourist (Forest Whitaker) and his trusty camcorder; instead of Zapruder-like intrigue, the episode has him running around like an agent in a rote thriller.
  65. The Duchess of Langeais
    A highbrow chick flick that made me feel older, in a good way.
  66. Diary of the Dead
    Diary of the Dead isn't bad; it's a kicky B movie hiding inside a draggy, self-conscious-work-of-auteurist-horror one.
  67. Definitely, Maybe
    Absolutely, probably more comfortable with human romantic complication than the usual stuff released on Valentine's Day.
  68. Jumper
    Liman, for all his craft, doesn't have enough FUN with the premise.
  69. The Spiderwick Chronicles
    Spiderwick is set in the present, but goes for an overall design look of dainty, cozy, William Morris-y arts-andcraftiness.
    • 50 Metascore
    • 67 Critic Score
    Step Up 2: The Streets
    In a sequel that features the original's Channing Tatum only in cameo, a Baltimore teen (Briana Evigan, very winning) enrolls at an arts academy, leaving her street-dancing pals behind. So far, ho hum. But when she decides to form a new crew with her classmates, Step Up 2 the Streets improves considerably -- and it doesn't skimp on cool pretzel moves.
  71. Ezra
    The film is so committed to its view of Ezra as a pawn in the psychotic game of postcolonial Africa that he is never allowed, as a character, to become more than a pawn.
  72. The Band's Visit
    Something marvelous happens as the filmmaker, in his first feature, expertly metes out small scenes of communication between people taught, for generations, to be wary of one another: This Band swings with the rhythms of hope.
  73. Fool's Gold
    Kate Hudson is as blah and dazed as her costar is cloyingly enthused. If it's possible to have too even a tan, Hudson in Fool's Gold would be the poster child for it.
  74. The Hottie & the Nottie
    The Farrelly brothers could burp out a movie funnier than The Hottie & the Nottie, a farce of corrupt stereotypes that's never more grotesque than when it pretends to be more than skin-deep.
  75. In Bruges
    Neither star is sloppy, but both are loose and mellow -- a couple of pros who know they're the whole show.
  76. Wild West Comedy Show: 30 Days & 30 Nights - Hollywood to the Heartland
    Has a loosey-goosey, what-the-hell spirit that's easy and fun to hook into.
  77. Welcome Home, Roscoe Jenkins
    Mo'Nique is similarly given little opportunity to show off her indisputable comedic chops, though her freewheeling monologue during the closing credits hints at what might have been.
  78. London to Brighton
    Writer-director Paul Andrew Williams' unnecessarily hectic debut feature won several British film festival awards, no doubt for its bounty of low-budget stylized violence and blood, as well as its thing for prostitutes and runaways.
  79. Caramel
    A Lebanese variation on sweetly soapy dramas about Women Who Bond With Wet Hair.
  80. The Eye
    It's as if, on the umpteenth Asian-horror Xerox, the ink has run dry.
  81. Hannah Montana & Miley Cyrus: Best of Both Worlds Concert
    Cyrus, an apple-cheeked dumpling, resembles Pia Zadora, but when she exhorts the crowd, it's with the martial efficiency of Hillary Clinton.
  82. Over Her Dead Body
    Rudd's talents as a thinking woman's charmer are wasted -- as are those of amiable Jason Biggs in a weak variation on the pop theme of being a gal's gay best friend.
  83. Praying with Lior
    Though the film gets a bit repetitive, in its moving climax Lior does more than just have his bar mitzvah -- he earns it.
  84. The Witnesses
    What the characters in The Witnesses -- and we, the audience -- pay testimony to in André Téchiné's urgent, compassionate, and ultimately optimistic French drama are the toll the epidemic has rung, and the responsibility of the living to choose life.
  85. Rambo
    Rambo teaches that fighting sucks, good intentions can be futile, and coalitions of the willing are a charade: A man's got to do what a man's got to do.
  86. How She Move
    Rutina Wesley glowers with just the right touch of sweetness as a brainy student (and stellar after-school stepper).
  87. Meet the Spartans
    Less classic Mel Brooks than middling "Best Week Ever."
  88. Untraceable
    Lane skillfully sells the tech-heavy script. But after a much-too-early reveal of the murderer's identity, the ''low battery'' signal starts to flash on this film by thriller specialist Gregory Hoblit, director of last year's far superior "Fracture."
  89. 4 Months, 3 Weeks and 2 Days
    Nothing good happens in 4 Months, 3 Weeks and 2 Days, the riveting, horrifying chronicle of an illegal abortion performed in 1987 when Ceauescu's dictatorial hand still gripped Romania's throat. And yet no lover of greatness in filmmaking will want to look away from one of the very best movies of 2007.
  90. U2 3D
    The 3-D visuals envelop you, majestically, and that effect fuses with the band's surround-sound rapture to create a full-scale sensory high. U2 3D makes you feel stoned on movies.
  91. Cassandra's Dream
    Allen's latest, Cassandra's Dream, is one of his debonair ''small'' entertainments, the closest that he has come to doing a tidy, no-frills, down-and-dirty genre thriller.
  92. Cloverfield
    Cloverfield, a surreptitiously subversive, stylistically clever little gem of an entertainment disguised, under its deadpan-neutral title, as a dumb Gen-YouTube monster movie, makes the convincingly chilling argument that the world will end -- or, at least, Manhattan will crumble -- with a bang and a whimper.
  93. Mad Money
    Latifah coasts on grit and verve, and Holmes has a goggle-eyed sweetness, but it's Keaton who rules.
  94. 27 Dresses
    27 Dresses is a movie geared to a pitch of high matrimonial-princess fever.
  95. Taxi to the Dark Side
    Where "No End" is cool and measured, Taxi is hot, anguished, and sometimes as difficult to watch as pictures of torture ought to be.
  96. Still Life
    More than a million people have been displaced in central China in the cause of generating electrical power to meet the needs of the future; Jia's flowing river of a picture washes over a few of them as they adjust to life's currents in the present.
  97. First Sunday
    If Tyler Perry ever wanted to turn "Dog Day Afternoon" into a treacly after-school special, it would probably end up looking a lot like this.
  98. One Missed Call
    This garbled American remake of Takashi Miike's already staticky 2004 exercise in J-horror is a wrong number.
  99. Honeydripper
    True to his stolid, humanist instincts and characteristically stodgy directorial style, writer-director John Sayles creates a story more educational than engrossing.
  100. The Orphanage
    You're either in the mood to go along with the puzzle pieces or you're not. I'm not usually a puzzle-piece fan myself, not when it's clear that the filmmaker rigs the moves. But I couldn't help but fall for the repurposed real estate, and cheer for the lady strong enough to break through walls when she senses a child is waiting.
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