Entertainment Weekly's Scores

Select another publication »
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 2.1 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
view
per page
  1. Celebrity
    Allen's canniest hire of all is Leonardo DiCaprio, who plays a bratty, destructive young star, juicing the proceedings with a power surge that subsides as soon as he exits.
  2. Small Time Crooks
    For all its wispy fun, Small Time Crooks still tilts, with little-guy stubbornness, at windmills in Allen's mind.
  3. Crimson Gold
    A fable of money as the root of jealousy, discord, violence, but the film's slippery fascination as sociological exposé is the flip side of its thinness as drama.
  4. The Agronomist
    As Demme's audienc we're at the mercy of political passion overshadowed by style.
  5. Man on the Train
    The premise, the structure, and the men-at-twilight conversation in Patrice Leconte's ingratiating drama feel cloyingly predetermined at times, but the sight of Hallyday and Rochefort luxuriating in their contrasting manly personas is a kick.
  6. Seabiscuit
    Trembles with respect for Hillenbrand's book. It's hobbled by good intentions, grand plans for telling many stories at once, and a fear of the very audience whose intelligence and sophistication it claims to court.
  7. The Italian Job
    There's a fair amount of filler in The Italian Job, but it all boils down to the big heist, which has been staged as if it were Fort Knox being robbed by Evel Knievel.
  8. The Business of Strangers
    None of this detracts, however, from the terrific piss-and-merlot performances of Channing and Stiles, or from the committed participation of Frederick Weller as a Neil LaBute-era businessman caught in the lounge between two she-devils disguised as businesswomen.
  9. Heat
    We're not watching McCauley and Hanna anymore; we're watching De Niro and Pacino trying to out-insinuate each other. For a few moments, Heat truly has some.
  10. The Claim
    There's something almost too controlled, cerebral, and overdetermined about Winterbottom's Western notions.
  11. 24 Hour Party People
    An insider nostalgia trip for graying art punks. It could have been called ''When We Were Cool,'' and it's finally so cool that it freezes you out.
  12. The 6th Day
    A bit of a clone itself, but it's got a crackerjack helicopter chase, a semblance of a script, and a sotto voce performance by Robert Duvall as a biotech genius who murmurs sweet nothings to his dying cloned wife.
  13. The Safety of Objects
    The disciplined performances play against schmaltz, and the casting is inspired.
  14. Matchstick Men
    Actually, there's one other way to approach Matchstick Men, and that's to forget all about neuroses and con artistry and admire the movie instead for the unsettlingly beautiful directorial study in geographical mood that it is.
  15. Identity
    The hardest work falls to Cusack, a subtle actor with a valuable gift for conveying the sadness and loneliness beneath the skin of even the most jaded and self-contained men-about-town.
  16. Meet Joe Black
    Sometimes clever and enjoyable, even touching, yet too often the film makes you feel as if you're in Sunday school.
    • 73 Metascore
    • 67 Reviewed by
      Ty Burr
    El mariachi
    Rodriguez makes the same mistake as other first-time auteurs: The world of this movie exists only in relation to other movies, particularly the Sergio Leone-Clint Eastwood spaghetti Westerns of the early '60s.
  18. All I Wanna Do
    A knock-kneed but likable just-for-girls drama set in 1963 that promotes single-sex institutions as the best breeding ground for future female senators and filmmakers.
  19. The Virgin Suicides
    Glum and preposterous -- an operatically stilted adolescent martyr fantasy -- and yet, as staged by Coppola, it's well worth seeing.
  20. Little Nicky
    There are laughs to be had, yet the movie is, if anything, more strenuous than it is funny.
  21. Bad Boys II
    Bad Boys II proves that it's possible to pack a movie with so much popcorn that it leaves the audience overdosed.
    • 54 Metascore
    • 67 Critic Score
    Deep Blue Sea
    How refreshing: a big-budget, F/X-happy action flick that actually appears to be intentionally stupid.
  23. Anaconda
    Directed by Luis Llosa with all of the subtlety of a snake-oil salesman, is in the great tradition of cinematic cheese, as processed as Kraft Singles slices. [18 Apr 1997, p. 48]
    • Entertainment Weekly
    • 37 Metascore
    • 67 Critic Score
    Freddy vs. Jason
    So can Freddy beat up Jason, or what? Let's just say that neither one would have stood a chance against Abbott and Costello.
  25. The Wedding Singer
    As a romantic comedy, the picture is pleasant, predictable, and utterly weightless.
  26. Don't Say a Word
    If there's such a thing as joyless competence, it's exemplified by the grimly sensational kidnap thriller Don't Say a Word.
  27. A Song for Martin
    The movie, for all its sincerity, becomes clinical and repetitious, though its unsparing vision of the fragility of identity can give you a shudder.
  28. Shallow Hal
    Something is happening to our boys: They're getting mushy. Shallow Hal is not so much about how gross people are as how beautiful they are once you get beyond the rude, noisy flesh. It's a sermon wrapped in a fat suit.
  29. Quills
    Quills bleaches the danger -- and fascination -- out of De Sade, turning him into a kind of mad saint of ''Masterpiece Theatre'' porn.
  30. The Rage: Carrie 2
    Emily Bergl plays the misfit heroine -- pale Goth grrrl Rachel Lang -- with a nicely sulky empathy, equal parts hurt and hope.
  31. Beyond the Mat
    Often has the rambling feeling of a home movie Blaustein made for his buddies.
  32. Sex and Lucia
    A truly titillating and truly convoluted tale of l'amour fou. Perhaps the American remake could be titled ''Hot Fudge Ripple Sky.''
  33. The Good Thief
    The trouble with all this is that it's thin movie tinsel that, while lovingly polished, never becomes more than tinsel. The Good Thief has a glib stylishness (the rapid freeze-frames at the end of scenes signify...nothing), yet it lacks a blast of reality to balance its fable.
  34. Reconstruction
    Features a supernatural twist that is merely okay, but the film's mood of fractured anxiety and longing made me eager to see what the director, Christoffer Boe, does next.
  35. The Shawshank Redemption
    Shouldering a laconic-good-guy, neo- Gary Cooper role, Robbins never quite makes emotional contact with the audience.
  36. Moulin Rouge!
    The result is a musical that substitutes irony for pop passion, misanthropic disjointedness for lyrical flow.
  37. Casa de los babys
    Marcia Gay Harden is an angry vulgarian who steals shampoo off the maids' carts and bribes a lawyer to get her baby. Sayles may not have planned it this way, but Harden makes crassness as powerful as any maternal instinct.
  38. Marci X
    A talent-stuffed assemblage of barbs and giddy musical numbers that shouldn't be written off as a feature flop -- but savored instead for the cult-ready collection of late-night satirical skits and misses it is.
  39. Morvern Callar
    A movie's refusal to judge bad behavior can be a subtle way of trumping the audience -- a passive-aggressive form of one-upmanship.
  40. Conspiracy Theory
    You're set up for when director Richard Donner -- who worked with Gibson on all three audience-pleasing Weapons -- switches the movie from a really interesting, jittery, literate, and witty tone poem about justified contemporary paranoia (and the creatively unhinged dark side of New York City) to an overloaded, meandering iteration of a Lethal Weapon project that bears the not-so-secret stamp of audience testing and tinkering.
  41. The Hot Chick
    At this point, we don't go to Rob Schneider movies looking for laughs: We go for comfort. They're the cinematic equivalent of meatloaf, dependable and filling in their quotidian idiocy.
  42. Black Hawk Down
    Even an audience moved to tender patriotism might wonder how Scott, a proven master of ''Gladiator''-size visual showmanship, could have bombed away the personality of every man fighting until he's left with nothing more than pure combat.
  43. Catwoman
    I wouldn't call Catwoman incompetent, yet it has no visual grandeur, and very little surprise; you can tick off the story beats as if they'd been graphed.
    • 64 Metascore
    • 67 Reviewed by
      Ty Burr
    Gattaca
    Sets, music, and imagery are rigorously controlled and undeniably stunning, but after a while flaws creep into the plot's double helix.
    • 61 Metascore
    • 67 Reviewed by
      Ty Burr
    My Dog Skip
    A serviceable time-passer for kids, grandparents, and poochophiles.
  46. Criminal
    The performances are winning -- Gyllenhaal is particularly sharp as an aggrieved sibling, and there's mutual zing in her scenes with Reilly.
  47. Never Die Alone
    Almost everything that frames the drug dealer's tale is facile and second-rate. Simply put, you don't believe it. What you do believe is DMX's cruel charisma.
  48. Max
    It challenges, this nervy oddity, like modern art should.
  49. Lost and Delirious
    Evokes the intimacies of teenage girls with unusual delicacy, and Perabo's performance is a geyser of emotion.
  50. The Animal
    While a good deal funnier than ''Deuce Bigelow,'' is still destined to get branded, if not condemned, as ''dumb.''
  51. The Golden Bowl
    There's no mirth, and precious little passion, left in this house.
  52. The Original Kings of Comedy
    The routines are charged, even between jokes, with anticipatory hilarity.
  53. Barbershop
    The mixed-up rhythms of the story rescue Barbershop from bland goodness.
  54. All or Nothing
    In that rare moment, the movie relaxes its rictus of pain and actually dares to feel good. Moments like these aren't just a negotiation between all and nothing -- they're everything that allows us to care about even those characters who only slouch and shriek ''F -- - orfff!''
  55. Cruel Intentions
    Never shocks or even offends by ascribing fully adult cruelties and erotic activities to obnoxious kids; such harshness wouldn't flatter a cast this moussed and magazine-layout-ready.
  56. Vanity Fair
    It borders on perky -- a duller, safer tonal choice for the story of a conniving go-getter whose fall is as precipitous as her rise.
  57. Star Wars: Episode I - The Phantom Menace
    Fails to recapture the elemental magic of Star Wars, and that, ironically, is because it represents the coarse culmination of the original film's adrenaline aesthetic.
  58. S1m0ne
    The movie pretends to warn against such shallowness -- but flaunts its arousal at how exciting such a controllable world is for those with access to the software.
    • 55 Metascore
    • 67 Critic Score
    America's Heart and Soul
    The travelogue cinematography is often gorgeous, and the movie's folks, however hastily presented, are winning.
  60. Romance
    The movie is a footnote as well, a minor reference back to the days when people yearned for a cinema that was serious and erotic at the same time.
  61. Tears of the Sun
    Left wing? Right wing? Center? Who cares, as long as Bruce Willis is saving the world.
  62. Session 9
    A marvel of vérité nightmare atmosphere.
  63. Deep Impact
    Leder establishes a syncopated rhythm unlike anything we're used to in a catastrophe spectacle.
  64. Saved!
    The director-cowriter, Brian Dannelly, has great fun tweaking the way American Christianity has been born again as a commodified, suburbanized, pop-saturated belief system.
  65. Cellular
    Chris Evans is blithely likable despite a few faux-Cruise mannerisms, Basinger makes a vividly frightened yet resourceful woman in peril, and William H. Macy scores as a mild L.A. cop who lets out his inner macho.
  66. Braveheart
    Braveheart features some of the most enthralling combat sequences in years, and the excessive ferocity of the violence is part of the thrill.
  67. Best in Show
    You giggle every so often, but you never give yourself over to the characters.
  68. The Girl Next Door
    "Risky Business" had a great opening act and then descended into contrivances. This genial cardboard knockoff is contrived from the start but gets better as it goes along.
  69. The Hours
    While we can admire their attractive exteriors, we don't know anything about the interior lives of the three women so vibrantly miserable in their unhappiness.
  70. Seven Years in Tibet
    French director Jean-Jacques Annaud, who brought his interest in self-discovery and untamed places to Quest for Fire, The Lover, and the IMAX 3-D film Wings of Courage, is at his best re-creating the serene exoticism of the Dalai Lama's Tibet. But the spark of the holy that the Dalai Lama lights in Harrer flickers only fitfully in all the wind in this production.
  71. Starsky & Hutch
    To turn fondly remembered TV trash into a movie that knows it's cruddy -- and that isn't, therefore, quite as cruddy as it might have been -- takes a perverse pinch of talent, if not style.
  72. Selena
    The best thing going for Selena is Selena herself, played with verve, heart, and a great deal of grace by the increasingly busy Jennifer Lopez (Money Train, Jack, Blood & Wine).
  73. Undertow
    The truth is that Undertow is like a conventional Hollywood movie operating on half its cylinders.
  74. White Oleander
    Impressively unflappable and natural, 23-year-old Lohman -- whose best known credit is perhaps a role on Fox's short-lived ''Pasadena'' -- holds the whole plot together skillfully.
  75. Rush Hour 2
    Coarser, more hectic, more cheaply written sequel.
  76. Everything Put Together
    The movie is ''Rosemary's Suburban Baby'' without a witch in sight.
  77. Monster's Ball
    A traffic map of calls and responses, lessons and homework, wishes and fulfillment. All roads lead to acting-award nominations, but none lead to truth.
  78. The Last Shot
    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.
  79. Big Daddy
    Much of Big Daddy looks like it was made up on the spot, but Sandler, with his bad-dog eagerness to get caught in the act of misbehaving, pulls you through it.
  80. Liberty Heights
    But Levinson's passion to explain how he got from there to ''Sphere'' gives Liberty Heights its own farkatke Hollywood integrity.
  81. Along Came Polly
    Along Came Polly is nothing if not a chick flick for guys.
  82. High Fidelity
    For all its music-trivia affection, High Fidelity is finally a pretty thin melody.
  83. The Patriot
    It's a death-wish revenge thriller posing as a lavishly pastoral historical epic.
  84. The Thin Red Line
    An epic aestheticization of World War II, a movie at once bold and baffling, immediate and abstract.
  85. Dumb and Dumber
    There are limits to how much comic irony can be wrung out of the sight of two grown men acting like complete cretins.
  86. Me, Myself & Irene
    Every instance of gleeful bad taste is timed and positioned for maximum, liberating laugh value.
  87. Hollow Man
    An eminently watchable B-movie nightmare.
  88. Payback
    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.
  89. The Count of Monte Cristo
    The best thing in The Count of Monte Cristo is Guy Pearce's snot-nosed hauteur. He gives this scoundrel some wounded edges, and frills as well.
  90. The Manson Family
    The film evokes how homicide became the ultimate orgasm for kids who had turned themselves into zombies of flesh.
  91. Lightning in a Bottle
    The music's sensational, but you keep waiting for the pledge number to flash up.
  92. The Barbarian Invasions
    I kept wondering how Arcand could have chosen as his generational representative a man not just flawed in his hedonism but one so fundamentally lacking in tenderness for others.
  93. Malèna
    You wish that Malena's inner life had been given as much accent as her outer charms.
  94. Red Dragon
    A thriller made from a completist's checklist rather than with a cultist's passion.
  95. Lost Highway
    Lost Highway has scattered moments of Lynch's poetry, but the film's ultimate shock is that it isn't shocking at all.
  96. Suzhou River
    Has more atmosphere than it does coherence; it's a series of floating tricks and gambits in search of a resolution. Even so, Ye's ''Vertigo'' fever is contagious.
  97. A Map of the World
    Director Scott Elliott, in his feature-film debut, is especially perceptive about what goes on at the edges during deepening family crises, literally at the borders of the screen.
  98. Bruce Almighty
    Carrey isn't afraid to go happily psycho, like Peter Sellers or Eminem on his funniest tracks, and that's his edge.
  99. Cop Land
    Dense, meandering, ambitious yet jarringly pulpy, this tale of big-city corruption in small-town America has competence without mood or power -- a design but not a vision.
  100. September 11
    In the most shocking contribution to this self-conscious but fascinating sampling of art challenged by life, Mexico's Alejandro González Iñárritu (''Amores Perros'') makes a horrifying suspense story.
Page:

Top Trailers

See all »
See all trailers »