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. For Your Consideration
    Each and every character in Christopher Guest's latest hilarious cultural corrective is something inspiring to behold.
  2. Bobby
    Bobby coasts along on a dread, and sorrow, it doesn't earn.
  3. The Aura
    Ricardo Darín, wearing a mild-mannered expression of emotional remove, plays the unnamed antihero, obsessed with imagining the perfect robbery. The ''aura'' is the clarity with which he sees -- or imagines he sees -- the world in moments preceding an epileptic attack.
  4. Flannel Pajamas
    The hero remains such an exhibitionistically cocky, walled-off jerk that Flannel Pajamas' glib conversational ''candor'' yields no mystery. And that's a problem in two hours of talk.
  5. Who the #$&% Is Jackson Pollock?
    Horton's attempt to authenticate the painting in the face of a hostile art establishment becomes a study in forensics, taste, money, and class warfare.
  6. A Good Year
    Nothing more than a bad harvest.
  7. Harsh Times
    Bale is mesmerizing and Rodriguez keeps up with him as the whole unsafe contraption zooms.
    • 38 Metascore
    • 42 Critic Score
    The Return
    Mellow -- nay, snoozy -- atmospherics trump actual scares, and it makes almost zero sense.
  9. Stranger Than Fiction
    An eminently easy-to-watch piece of one-joke pop japery, is a movie that mimics the I'm-a-character-in-my-own-life metaphysical playfulness of "The Truman Show."
  10. Iraq in Fragments
    The calm poetry of the cinematography offsets the mess of the politics to stunning effect.
  11. Fur: An Imaginary Portrait of Diane Arbus
    Shainberg reduces this most disturbing of all photographers to a portraitist of Halloween.
  12. Come Early Morning
    The baby-voiced costar of "Chasing Amy" proves an effortless filmmaker, turning Lucy’s journey into the awakening of a soul.
  13. Copying Beethoven
    Holland's empurpled bio-fantasy is hooey with an anachronistic feminist slant from start to finish.
  14. Fuck
    Examination of one of the English language's most useful utterances and why the sound packs such a friggin' wallop.
  15. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan
    When Baron Cohen works without a net, he flies.
  16. Flushed Away
    Flushed Away lacks the action-contraption dottiness of a Wallace and Gromit adventure, but it hits its own sweet spot of demented delight.
    • 32 Metascore
    • 50 Critic Score
    The Santa Clause 3: The Escape Clause
    This Styrofoam snowman of a sequel overdoses on its own candy-cane-colored sugary cheer.
  18. Volver
    The movie opens as borderline Hitchcock, echoing the tone of the filmmaker's bravura "Bad Education" (2004), and then turns into a kind of overly conceptualized Tennessee Williams.
    • 61 Metascore
    • 58 Critic Score
    Wondrous Oblivion
    Wondrous Oblivion goes awry in its sloppy racial drama, and although the cricket-training montages are good, they're still training montages, and this is just that kind of overfamiliar movie.
  20. Babel
    Measured in anything other than biblical cubits, the sum of Babel's many parts turns out to be a picture that suggests Americans ought to stay home and treat their nannies better.
  21. Catch a Fire
    With the same affinity for stories of culture clash he showed in "The Quiet American" and "Rabbit-Proof Fence," director Phillip Noyce embraces the tale with gusto.
  22. Saw III
    Admit it: It's not every horror film that can make you feel preached at and slimed at the same time.
  23. Climates
    Exquisitely structured, pitiless study of a middle-aged man trapped in a stagnant emotional weather pattern.
  24. Shut Up & Sing
    Through it all, Natalie Maines' decision to shirk humility, to stick by her guns, to the point that the group returns to that London concert venue in 2006 and she utters the same joke again, becomes a feisty and inspiring act of something there is only one word for: patriotism.
  25. Death of a President
    The movie IS a provocation, but not a glib or ideologically myopic one.
  26. Cocaine Cowboys
    Cocaine Cowboys, which at times seems like it could have been edited by someone on coke, comes at you as a vast bloody river of underworld information.
  27. 20 Centimeters
    Here's yet another self-consciously ''Almodóvarian'' confection, studded with small odes to the glory of self-creation.
  28. Absolute Wilson
    Surprisingly square portrait of avant-garde artist and director Robert Wilson.
  29. The Bridge
    The Bridge crosses a disquieting line.
  30. Marie Antoinette
    Coppola's stranded royal suggests that at heart, Marie Antoinette was just a simple girl who wanted to have fun, and got her head handed to her.
  31. Running with Scissors
    Watching Running With Scissors the movie instead of reading Running With Scissors the best-selling memoir by Augusten Burroughs is like running with a spatula, or maybe some weird toast tongs.
  32. Flags of Our Fathers
    The trouble is, he's preaching to the choir -- or, at least, to a culture, profoundly influenced by Tom Brokaw's "The Greatest Generation" and Steven Spielberg's "Saving Private Ryan," that has already absorbed the lesson that ''the Good War,'' while it may have been noble, was never less than hell.
  33. Flicka
    As for our heroine (Lohman), her archetypal struggle with crusty Pa (uncrusty Tim McGraw) feels attitude-heavy and life-lesson-light.
  34. The Prestige
    The Prestige isn't art, but it reaps a lot of fun out of the question, How did they do that?
  35. Sleeping Dogs Lie
    Hamilton, in her movie debut, is a find: the kinkstress next door.
  36. Jonestown: The Life and Death of Peoples Temple
    The Peoples Temple congregation was sizably African-American. But when it comes to how those followers turned into a zombie Kool-Aid death cult, Jonestown: The Life and Death of Peoples Temple leaves you with more questions than you went in with.
  37. Requiem
    Requiem is drawn from an incident that was also the basis for last year's demon-seed hit, "The Exorcism of Emily Rose."
  38. Sweet Land
    Sweet Land is a movie of extraordinary tenderness, in which Reaser and Guinee, using a language of looks, make you happy to think about what love once might have been.
  39. 51 Birch Street
    A warm and honest portrait of a marriage at its most mysterious, and ordinary.
  40. The Grudge 2
    Once again, we're treated to loosely aligned scenes of half-formed characters getting a faceful of director Takashi Shimizu's croaking, implacable, and, yes, still scary housewife-geist.
  41. Man of the Year
    Williams turns out to be exactly the wrong candidate for the job, a comedian singularly uninterested in letting anyone else get a word in, but with nothing to say.
    • 45 Metascore
    • 58 Critic Score
    The Marine
    A delectably bad '80s-style actioner.
  43. Deliver Us from Evil
    Brilliant and psychologically transfixing documentary.
    • 56 Metascore
    • 42 Critic Score
    Driving Lessons
    Linney is too sensitive and capable an actress to play a stock villain like this. That everyone in the movie dislikes her makes you dislike everyone in the movie.
  45. Infamous
    The added value that writer-director Douglas McGrath has in mind is gossip -- and a goggly interest in gossip becomes the glittering gimmick of Infamous.
  46. Nearing Grace
    Scott Sommer's late-1970s coming-of-age novel, with little of the vivid specificity of "Mean Creek," even though the two share a screenwriter and a producer.
  47. Tideland
    Dour, absurdist, gruesomely awful.
    • 42 Metascore
    • 50 Critic Score
    Alex Rider: Operation Stormbreaker
    Alex Rider: Operation Stormbreaker is "Agent Cody Banks" played British and kinda straight -- that is, as straight as you can when your villain, who dispatches foes with a giant jellyfish, is played by a toothpick-chomping Mickey Rourke in purple eye shadow.
  49. So Much So Fast
    So Much So Fast (spanning five years) elegantly presents both a critique and a celebration of American optimism.
  50. The Departed
    The very title The Departed suggests a James Joycean take on Irish-Catholic sentiment when, of course, this story is anything but: It's Scorsesean, and he's in full bloom.
  51. Little Children
    A jolting, artfully made drama set in and around a suburban playground somewhere between "American Beauty" and "In the Bedroom" on America's psychic highway.
  52. Employee of the Month
    The results in Employee of the Month are toothless.
    • 30 Metascore
    • 25 Critic Score
    The Texas Chainsaw Massacre: The Beginning
    Unlike "Hostel" or "Wolf Creek," TCM:B is rank and depressing.
  54. 49 Up
    49 Up is a precious document, and must viewing.
  55. Shortbus
    Shortbus is chipper, it's fresh, it emits a distinct musk of controversy. I'll take the longbus.
    • 64 Metascore
    • 67 Critic Score
    Wrestling with Angels: Playwright Tony Kushner
    Wrestling with Angels could use some brouhaha: It's a bit too much of a pleasant air kiss from a fan, and doesn't engage inquisitively enough with Kushner's often controversial and very political ideas.
  57. The Queen
    Helen Mirren's allure lies not in finding what's regal in every woman she plays, but in finding what's womanly in every royal.
  58. The Guardian
    The movie represents an earnest effort to compensate for all the love the media has shown to firefighters and other land-based first responders in recent years with little thought to the Coast Guard; the drama also crashes on wave upon wave of clichés.
    • 49 Metascore
    • 58 Critic Score
    Open Season
    The overfamiliar Open Season feels like just another CG 'toon in our 'toon-glutted times.
  60. School for Scoundrels
    Director Todd Phillips tries for the kind of frat slaphappiness he applied so successfully to "Old School," but these boys are less scoundrels than individual salesmen for the brands of Heder and Thornton.
  61. A Guide to Recognizing Your Saints
    This gallantly imperfect indie pops with attitude.
  62. The Last King of Scotland
    Drawing on a documentary visual style he deftly employed in "One Day in September" and "Touching the Void," director Kevin Macdonald uses McAvoy's boyishness to treat Garrigan's apolitical foolishness as yet another damn mess in one African country's hell.
  63. All the King's Men
    Writer-director Steven Zaillian's version stultifies, especially when compared with Robert Rossen's fiery 1949 Oscar winner. How could such dullness defeat the retelling, when Willie Stark is one of the most vivid characters in 20th-century American popular culture?
    • 47 Metascore
    • 42 Critic Score
    Flyboys
    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.
    • 66 Metascore
    • 75 Critic Score
    Jackass Number Two
    Jackass Number Two is not as original, aberrantly beautiful, unrepetitious, or good as Jackass Number One, yet it will still double a lot of people over with big laughs and grossed-out disbelief.
  66. Feast
    Feast isn't quite demented enough to reach Raimi-an heights, but Gulager uses parts of the monster-movie buffalo even the buffalo didn't know existed.
  67. Jesus Camp
    As a documentary, Jesus Camp could lose its haunted-house score and contrapuntal Air America refrains and still deliver its message: that, here and elsewhere, fundamentalism is no longer content with a separate peace. It wants the meat.
    • 69 Metascore
    • 75 Critic Score
    American Hardcore
    Illuminating nostalgia, stuffed with all the right tattooed talking heads (like Black Flag's Henry Rollins), plus grim-looking concert footage of wailing skinny guys.
  69. The Science of Sleep
    The Science of Sleep is like a weird dream that tugs at the memory throughout the day with its intriguing, misshapen pieces.
  70. Renaissance
    Connoisseurs of digital animation, graphic novels, and the history of dystopian art will have plenty to discuss about Christian Volckman's visually striking, technically impressive black-and-white animated feature Renaissance…But no one will be talking about the movie's banal plot, the trite dialogue, or any of the indistinguishable characters who offer a bleak futuristic vision of cinema that's all style, no soul.
  71. Old Joy
    It's in all the moments where little happens that Reichardt is most amazing, investing even a gas-station pit stop with perfect emotional pitch.
  72. The Black Dahlia
    The film is more than a little in love with the corruption it finds under the floorboards -- and that, of course, is perfectly dandy. I wouldn't trust a film noir that wasn't enthralled by decadence.
    • 51 Metascore
    • 67 Critic Score
    Everyone's Hero
    Everyone's Hero re-creates Depression-era America with surprisingly agreeable anachronistic panache, but a sassy ball and bat don't cut it as compelling cartoon characters, and the not-so-human humans never quite do either (Babe Ruth looks like Shrek).
  74. Gridiron Gang
    Parades itself as an ''honest'' message movie, a call for troubled kids to choose life over street nihilism, but the picture is so earnest that it leaves out the easy, old-school pleasure conjured by the last few years of Disney sports flicks (Invincible, Miracle, The Rookie).
  75. The Last Kiss
    An alarming male wallow passing as a fetching date-night dramedy.
    • 58 Metascore
    • 67 Critic Score
    Aurora Borealis
    Lewis, in particular, is a charmer; it's a loss that she never became an A-lister. And Jackson is, as always, earnestness itself. The movie would be a quality guilty-gloopy pleasure if it weren't so deadly overlong.
  77. Confetti
    Must viewing for the Bridezillas set, this winning pageant of gaudy bad taste is the work of some of the U.K.'s most popular comedy performers.
  78. Haven
    Terminally muddled crime drama.
  79. The U.S. vs. John Lennon
    To me, the most potent dimension of The U.S. vs. John Lennon is the way that it captures the contradictory romanticism of Lennon the radical.
  80. Keeping Mum
    She's no Mary Poppins: Maggie Smith is more like a cheery Angel of Death in the light black comedy Keeping Mum, one of those dutifully daft British diddles (complete with Rowan Atkinson as a vicar) that, except for the blunt sex talk, might have been constructed decades ago.
  81. Hollywoodland
    The chief frustration of this otherwise well-made, well-acted, well-heeled picture -- a movie classy in its artful modesty, with every detail of plot and period furnishings lovingly conceived, every lick of jazz-influenced score true to the times -- is that it is so very self-absorbedly graceful about something so very insular and...unremarkable.
    • 52 Metascore
    • 67 Critic Score
    The Protector
    It's silly, at times laughable, sure, but Jaa has a reckless, bone-cracking grace that transcends the film's triviality.
    • 19 Metascore
    • 16 Critic Score
    The Covenant
    Cobbled-together teenybopper tripe.
    • 53 Metascore
    • 83 Critic Score
    I Trust You to Kill Me
    Even when he looks like a complete dolt, Sutherland still comes off sympathetically, as a cool guy.
  85. SherryBaby
    Maggie Gyllenhaal is such a miracle of an actress that she makes you respond to the innocence of Sherry's desperate, selfish destruction.
  86. Man Push Cart
    This modern slice of neorealism has been made with a skill, and humanity, that suggests Bahrani may have a "Bicycle Thief" in him yet.
  87. Red Doors
    Writer-director Georgia Lee never leaves any doubt that the bonds of ethnic family devotion are a charm against any woe more serious than an engagement to the wrong white guy.
  88. Crank
    The movie is cranked up somewhere between stylish and proudly stupid, dusted with sunniness from Amy Smart (as Chev's sleepy girlfriend) -- and guaranteed to be out of your system by the time the lights come up.
    • 30 Metascore
    • 42 Critic Score
    Crossover
    Crossover skimps on court-level pyrotechnics (we get a game in the beginning and, of course, a big game at the end, and that's about it) in favor of dry urban melodrama.
  90. The Wicker Man
    Despite its logy, red-herring structure, the film has enough enigma and weirdness that it gradually stirs to life.
    • 84 Metascore
    • 91 Critic Score
    Lassie
    About as good as a Lassie movie can be.
  92. Looking for Kitty
    Burns pads around Gotham, yammering yesterday's op-eds about Disneyfication and ''classic New York holdouts.'' He somehow manages to sound fogyish AND immature.
  93. Mutual Appreciation
    If this is the sound of a new generation, then it may be the first generation cautious enough to embrace friendship as mightier than love.
  94. Riding Alone for Thousands of Miles
    Ken Takakura, a great rain-creased oak of an actor, delivers a quietly massive performance.
  95. This Film Is Not Yet Rated
    Has a bright, dishy spirit.
  96. Andy Warhol: A Documentary Film
    "Andy Warhol" makes you see that beneath the gargoyle hipster mask, he filled that emptiness with an art of transcendent sincerity.
  97. Beerfest
    Beerfest panders shamelessly to the 15-year-old in this 30-year-old... without assuming he is a 15-year-old. It's R-rated puerility for actual immature grown-ups.
  98. Idlewild
    Idlewild is a romp, a ticket to rowdy good times.
    • 56 Metascore
    • 75 Critic Score
    How to Eat Fried Worms
    Happily, after a cartoon opening-credits sequence that overdoes it on the barf, Worms goes light (but not too light) on the gore and the goo.
  100. Invincible
    Wahlberg, with shaggy hair and a pumped bod he wears more convincingly than any actor, plays Vince as a guy who truly doesn't expect to win. That makes his rib-bruising triumph all the more believable and touching.
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