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 2.2 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
view
per page
  1. A Good Woman
    British director Mike Barker and magpie New York screenwriter Howard Himelstein, have taken "Lady Windermere's Fan" - Wilde's first big stage success, written in 1892 - and pulped it senseless in the name of puttin' on the charm.
  2. When a Stranger Calls
    When a Stranger Calls is ba-a-a-a-c-k, in frightless form, updated for the age of anytime minutes and caller ID.
  3. Something New
    A shaky piece of work, with stumpy cinematography, choppy edits, speechy dialogue, and loose plotlines. And yet: There's an easygoing authenticity to the depiction of Kenya and her world that coexists with the picture's many weaknesses.
  4. Bubble
    Of the idiosyncratic ''little'' movies that Soderbergh has made to clear his head (Full Frontal, Schizopolis), this is the first that truly connects.
    • 37 Metascore
    • 58 Critic Score
    Annapolis
    Compellingly reserved and inscrutable at the start, Franco starts to lose us by the second hour, when his character's still not showing up for roll call on time, and isn't charismatic enough to bring us over to his side.
  6. Big Momma's House 2
    House 2 may never elicit more than mild chuckles, but when Momma teaches the Fullers a few lessons about family, it's heartfelt without being syrupy.
  7. Nanny McPhee
    One of those raucous, hyperactive kiddie flicks that knocks you upside the head from its opening frame.
  8. Imagine Me & You
    Congratulations are in order for Rachel's sexual awakening, but we might as well applaud the dull girl for falling in love with the nearest bunch of lilies rather than the florist.
  9. Little Jerusalem
    It would be hard to imagine a filmmaking style as serious yet lazy as the earnest vérité bobbing and weaving employed by La Petite Jérusalem.
  10. Manderlay
    Manderlay is turgid and hollow.
    • 58 Metascore
    • 67 Critic Score
    Roving Mars
    The mission is an impressive coup for NASA - these scientists are smart! - but it doesn't quite slam-dunk as a fully satisfying IMAX experience.
  12. Tristram Shandy: A Cock and Bull Story
    The first great, mind-tickling treat of the new movie year.
  13. Go for Zucker
    Funny, director and co-writer Dani Levy suggests with no little coldness, how the scent of money can do what religion, ideology, and ethical principles cannot.
  14. Looking for Comedy in the Muslim World
    The movie isn't racist; it's just lame. If Brooks truly cared about Muslims or how their funny bones worked, Looking for Comedy might have had some zing, but all his character is interested in is the 500-page report he has to deliver - a homework assignment from hell.
  15. Why We Fight
    Jarecki is no glib ideologue thumbing his nose at power.
  16. End of the Spear
    Atrociously scripted and edited.
    • 36 Metascore
    • 50 Critic Score
    Underworld: Evolution
    I especially like how, when Beckinsale's half-wolf, half-vampire friend Scott Speedman moves in for a kiss, you can hear the black leather of her dominatrix getup crinkle and crackle on the soundtrack like an old saddle. Sizzlin'!
  18. Glory Road
    Still, it's only just a jump shot or two before Glory Road settles into its rudimentary, music-cued rhythms of classroom civics lessons punctuated by on-court action.
  19. Last Holiday
    A chaste and tepid remake of a 1950 British comedy.
  20. Tristan and Isolde
    Working with an explanatory script by Dean Georgaris, Reynolds is much more confident in scenes of realistic battle, or even muddy marketplace dailiness, than he is with scenes of desire.
  21. Henri Cartier-Bresson: The Impassioned Eye
    He rarely allowed himself to be interviewed, but Henri Cartier-Bresson, here nearing 100, comes off as a marvelous, spritely, and companionable figure.
  22. Film Geek
    James Westby's loving and self-aware homage to mouth-breathing boys who worship Wong Kar-Wai and can't talk to girls is the opposite of Tarantino-esque: It's Westby-ish, interspersing settings of biting social oafishness with spasms of film knowledge.
  23. Fateless
    In the juxtaposition of cataclysmic matter-of-fact misery and cinematic poetry, the filmmaker finds a calmly stunning way to convey the experience of living with death as something intimate, and, unnervingly, almost natural.
  24. 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.
    • 33 Metascore
    • 25 Critic Score
    Grandma's Boy
    Does a very thorough job of reducing every recognizable member of the cast to probable career lows.
  26. Kill the Poor
    As an overwrought, overacted drama, Kill the Poor is negligible.
    • 18 Metascore
    • 0 Critic Score
    BloodRayne
    Ghastly-bad.
    • 53 Metascore
    • 50 Critic Score
    The Promise
    There's a nice Road Runner-cartoon moment when the slave runs really, really fast, carrying the wounded general on his back while dodging an attack of CG bulls. I can't imagine Road Runner was what Chen had in mind for the most expensive movie ever made in China, but then, I was born too late for the time of the snowy eagle.
  29. Match Point
    To call Match Point Woody Allen's comeback would be an understatement - it's the most vital return to form for any director since Robert Altman made "The Player."
  30. Wolf Creek
    Wolf Creek, an unusually crisp and boldly shot "Texas Chainsaw Massacre" knockoff, looks as ancient and patterned as a druidic ritual.
  31. 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.
  32. Rumor Has It...
    A mess -- all high concept, stranded performances, and no laughs.
  33. The New World
    Many have tried, but none can match Malick's touch for shuffling a deck of elegiac images (water/sky/clouds/rain) and fanning out the hand to express what speech cannot; he's a master, too, of incorporating sound that is often wordless but never empty.
  34. 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.
  35. Munich
    Munich, Steven Spielberg's spectacularly gripping and unsettling new movie, is a grave and haunted film, yet its power lies in its willingness to be a work of brutal excitement.
  36. Caché (Hidden)
    The picture moves with stealth, enjoying its own thriller-ness as hints are laid and mislaid. There's a sense that Hitchcock is hovering in the background and cheering for Auteuil, who musters all his French superstardom to play a man having his mask of blandness torn off.
  37. The Ringer
    The surprise of The Ringer is that the movie is pretty damn funny.
    • 34 Metascore
    • 33 Critic Score
    Cheaper by the Dozen 2
    What you have is less a sequel to a not-so-bad remake than yet another remake, this one of that not-so-great 1988 John Candy comedy "The Great Outdoors."
  39. Fun with Dick and Jane
    Wearing a brush cut that never fits the role, Carrey doesn't do a lot here besides flash those vampire-nerd teeth, and I grew weary of seeing them.
  40. The White Countess
    I don't think it's too much of a stretch to say that this oasis of romance amid the turmoil of Shanghai represents the way that Merchant and Ivory, for 40 years, saw themselves: as a sanctuary of calming, life-size taste in a movie culture grown coarse. It was often far from perfect, but I'll miss that sanctuary.
  41. 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.
  42. The Three Burials of Melquiades Estrada
    An unabashed descendant of "Bring Me the Head." This time, though, it's an entire corpse that gets hauled through the desert, and that's not all that's being toted. So is a hefty parcel of racial correctness.
  43. The Producers
    The accountant in Bloom would probably approve of the new Producers: It's an efficient extension of a popular brand. In theory, what's not to like? In reality, the whole schmear.
  44. Hoodwinked!
    The result is a wacked kiddie Rashomon in which the different versions dovetail with a logic as impeccable as it is flat-out buggy. So who do we root for? Everyone and no one. Hoodwinked's most radical feature is that it's a ride without heroes.
  45. King Kong
    One of the wonders of the holiday season.
  46. Brokeback Mountain
    Brokeback Mountain is that rare thing, a big Hollywood weeper with a beautiful ache at its center. It's a modern-age Western that turns into a quietly revolutionary love story.
  47. Memoirs of a Geisha
    Not since "Snow Falling on Cedars" have I seen so pedigreed a lit-pic sit there like such an inert teapot, available only to be admired for its mysterious, ineffable Asian teapotness.
  48. Mrs Henderson Presents
    This makes for a friendly romp, and also a dull one.
  49. 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.
  50. The Power of Nightmares: The Rise of the Politics of Fear
    It's a fluid cinematic essay, rooted in painstakingly assembled evidence, that heightens and cleanses your perceptions.
  51. The World's Fastest Indian
    The cockeyed devotion with which writer-director Roger Donaldson dramatizes the story of New Zealand motorcycle legend Burt Munro and his classic 1920 bike in The World's Fastest Indian is in direct proportion to the cockeyed devotion with which Munro himself pursued his lifetime goal of setting a land-speed record at Bonneville Flats, Utah.
  52. Æon Flux
    Theron is an arresting image, but, like everything else in Aeon Flux, she's stranded in a trashy and derivative glum zone of fashion-runway fascism.
  53. Transamerica
    The unintended effect of all the melodramatic complications in Transamerica is, oddly, to distract attention from an understanding of exactly what that courage really costs.
    • 51 Metascore
    • 83 Critic Score
    First Descent
    First Descent is not as eloquent, and thus not as electrifying, as Stacy Peralta's "Dogtown and Z-Boys" or "Riding Giants," the two jock docs it's clearly modeled after. No matter: Visually, MD Films offers up a sugar rush.
  55. The Kid & I
    Wayne's World's Penelope Spheeris directs and also plays herself, in a movie with a message as self-congratulatory as it is meta: All problems are surmountable when selfless Hollywooders work extra, extra hard, pulling together ''for the kid.''
  56. Down to the Bone
    Down to the Bone achieves what only the best independent films have: making life, at its most unvarnished, a journey.
  57. The Ice Harvest
    In a season of bulging Movies Earmarked for Importance, it is almost startling to come across something as unhyped - and perfectly swell - as The Ice Harvest.
  58. In the Mix
    A genially cruddy B movie can sometimes go places - sort of - that bigger movies won't.
  59. Just Friends
    Argues on behalf of the Darwinian theory that all of life imitates high school...But the argument is only halfhearted. Just Friends is much more interested in - and hilarious about - the small nostalgias of suburbia.
  60. Rent
    The movie is literally a series of showstoppers, unified by the impulse to turn life, at its scruffiest, into theater - into a rhapsody of the everyday.
  61. Yours, Mine and Ours
    The movie, directed with a gym teacher's whistle by "Scooby-Doo's" Raja Gosnell, is a contempo soft-focus remake of the 1968 original starring Lucille Ball and Henry Fonda.
  62. The Libertine
    The Libertine is such a torturous mess that it winds up doing something I hadn't thought possible: It renders Johnny Depp charmless.
  63. Syriana
    Indeed, the point of Syriana appears to be that the whole lousy, corrupt, oil-producing and -consuming world is a ball of wax, ready to melt.
  64. 39 Pounds of Love
    In moments that have nothing to do with representing the weight of love (whatever that is), the film comes alive: when Ami Ankilewitz isn't a symbol - just a man who, for instance, loves a woman.
  65. Harry Potter and the Goblet of Fire
    Kids may be appropriately terrified, but to this overgrown Potter fan, Voldemort, the Darth Vader of the black arts, was a heck of a lot scarier when you couldn't see him.
  66. Walk the Line
    A big, juicy, enjoyable wide-canvas biography with a handful of indelible moments.
  67. The Big Risk
    A doozy of a French gangster pic that, in its beautifully refurbished and pithily resubtitled re-release, turns out to be one of the highlights of the 2005 movie year.
  68. Breakfast on Pluto
    Jordan lets slip virtually every rudiment of drama. He never deigns to develop his characters, he coats the movie in a wet blanket of whimsy, and he lets pop songs do his work for him more lavishly than Cameron Crowe did in "Elizabethtown."
  69. Pride & Prejudice
    Keira Knightley, in a witty, vibrant, altogether superb performance, plays Lizzie's sparky, questing nature as a matter of the deepest personal sacrifice.
  70. Derailed
    A junky thriller that mistakes brute-strength plot twist, showy violence, and the against-type participation of Jennifer Aniston for earned excitement.
  71. Zathura: A Space Adventure
    Zathura is a rarity: a stellar fantasy that faces down childhood anxieties with feet-on-the-ground maturity.
  72. Bee Season
    Bee Season answers the question no Talmudic student or fan of "Unfaithful" has thought to ask: What would Richard Gere look like as a learned Jewish scholar and teacher?
  73. Ellie Parker
    Coffey, a tart comic mind who should cast his net farther from the 405, pads his story with more and more familiar degradations, and Watts plays each one to the hilt.
  74. Sarah Silverman: Jesus Is Magic
    If you're going to say the unsayable and stay charming while doing so, it helps to look more like Sarah Silverman than Andrew Dice Clay.
  75. Get Rich or Die Tryin'
    Neither powerful nor interesting. It is a run-of-the-mill movie ''product'' developed as part of a 50 Cent marketing plan.
  76. Chicken Little
    What falls in Chicken Little are hopes.
  77. Jarhead
    Jarhead isn't overtly political, yet by evoking the almost surreal futility of men whose lust for victory through action is dashed, at every turn, by the tactics, terrain, and morality of the war they're in, it sets up a powerfully resonant echo of the one we're in today.
  78. The Dying Gaul
    Has too many contrivances, but as an act of sinister staging, it proves Lucas, the noted playwright, to be a born filmmaker.
  79. Gay Sex in the 70s
    The director, Joseph Lovett, wants us to ask if there's such a thing as too much freedom, and he has the sobriety to say yes -- and no.
  80. Wal-Mart: The High Cost of Low Price
    Greenwald floats the vital issue of whether Wal-Mart should be restrained by antimonopoly regulations, but his real question is cultural: Even with its rock-bottom prices, is Wal-Mart in the best interest of American consumers?
  81. The Legend of Zorro
    Banderas uses all his old wiles in this well-oiled, businesslike, quite clangingly violent sequel to "The Mask of Zorro."
  82. Prime
    Not one bit of the story tracks. But with these women in these roles, you're asking for truth?
    • 40 Metascore
    • 67 Critic Score
    Saw II
    The contest is close, but Saw II is just barely a better B flick than "Saw."
  84. The Weather Man
    The Weather Man is what indie misery looks like when re-created by one of Hollywood's big studios.
  85. 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.
  86. Paradise Now
    Of all the shocks in the riveting and timely political thriller Paradise Now, the most unsettling may be the dignity bestowed on a pair of prospective Palestinian suicide bombers.
  87. The Passenger (re-release)
    The Passenger isn't finally the masterpiece some have made it out to be, but it retains a singular intrigue: It's the first, and probably the last, thriller ever made about depression.
    • 66 Metascore
    • 42 Critic Score
    Three... Extremes
    Another pulpy Creepshow movie would be more welcome than a second installment of this stiff stuff.
  89. Ballets Russes
    The archival footage is so breathtaking, the reminiscences so piquant, that even a stranger to dance can't help but be swept up by this peek into such exquisite, now vanished glamour.
    • 34 Metascore
    • 58 Critic Score
    Doom
    By hewing close to James Cameron's "Aliens" playbook, Doom manages to escape the game-to-movie curse that afflicted "Resident Evil," "House of the Dead," and, well, every other movie based on a game.
    • 59 Metascore
    • 58 Critic Score
    Dreamer: Inspired by a True Story
    One more feel-great sports movie with a teen-poetry title and Kurt Russell will have himself a trilogy.
  92. Shopgirl
    In their way, Mirabelle and Ray are the deracinated West Coast equivalents of a Woody Allen couple.
  93. Stay
    Eventually I gave up on meaning and began instead to study the profuse imagery -- and also the flat characters and anchorless performances.
  94. Kiss Kiss Bang Bang
    The deliriously enjoyable noir comedy-thriller Kiss Kiss, Bang Bang does nothing by halves and everything by doubles.
  95. Protocols of Zion
    The filmmaker keeps himself squarely on screen. This is fine when he engages in throwdowns with the bigots but distasteful when Levin shows himself reacting to footage -- unseen by viewers -- of the beheading of reporter Daniel Pearl.
  96. Ushpizin
    The unusual intimacy and authenticity can't be faked: The cast is peppered with nonprofessionals, most notably Michal Bat Sheva Rand.
  97. Domino
    The movie is trash shot to look like art imitating trash.
  98. Elizabethtown
    Think of Elizabethtown as Cameron Crowe's rambling amateur travelogue, one from a well-liked professional filmmaker momentarily so distracted by private notes scrawled on his souvenir map that he gets lost en route to telling his story of self-renewal. This undershaped, overlong warmedy is an homage to the memory of his late father.
  99. The Fog
    Selma Blair, the one vibrant actress in a cast of colorless screamers (including Tom Welling from Smallville and Maggie Grace from Lost), takes Adrienne Barbeau's old role.
  100. Where the Truth Lies
    A mood of lush romantic decadence -- sleaze made enigmatic -- hovers over Where the Truth Lies, which has a score that works so hard to evoke "Vertigo" that it may leave you dizzy.
Page:

Top Trailers

See all »
See all trailers »