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. North Country
    Might have been richer, tougher, more honestly liberal if it had revealed a few more shades of gray among the men.
  2. Loggerheads
    Kirkman is shrewd enough to coax a wistful performance out of pretty boy Kip Pardue.
  3. Nine Lives
    What could have been a parlor game becomes a surprisingly rich sketchbook, boosted by the work of fine actors.
  4. Good Night, and Good Luck.
    Good Night, and Good Luck has a small-scale time-capsule fascination, yet its hermeticism is really a form of moral caution -- a way of keeping the issues neat, the liberal idealism untainted.
  5. In Her Shoes
    Could it be that the director of "L.A. Confidential," "Wonder Boys," and "8 Mile" has been defeated by characters on a first-name basis with brisket, by women who, in Susannah Grant's screenplay, represent avatars of joyless workaholism and joyless sexaholism?
  6. Two for the Money
    Sports betting is a great subject for a movie, but Two for the Money is short on the number-crunching nitty-gritty.
    • 30 Metascore
    • 42 Critic Score
    Waiting...
    With its sweet stupidity and shoddy production values, Waiting... knowingly evokes bad '80s R-rated comedies, but the differences are telling.
  8. The Squid and the Whale
    In hovering, The Squid and the Whale becomes its own realistic display of family entropy, as cautionary as it is educational.
  9. Wallace & Gromit: The Curse of the Were-Rabbit
    Bestows generous blessings on all that's good in Englishness, in moviedom, and, of course, in cheese.
  10. Capote
    Capote honors its subject by doing just what Truman Capote did. It teases, fascinates, and haunts.
    • 55 Metascore
    • 42 Critic Score
    The Greatest Game Ever Played
    An inert family golf movie.
  12. Into the Blue
    Walker is supposed to be lured by the buried treasure, but the actor, wearing Brad Pitt's bristle cut, is like Pitt with his sexy appetite sucked out.
  13. Serenity
    Jaw set but never stiff, he (Fillion) gets both the Whedon wit and the Whedon grandiloquence between cheek and gum, and gives the whole enterprise the heft of a real saga.
  14. Going Shopping
    Going Shopping is sharp and funny about all the things that shopping can mean to the women who live to do it, and even to those who don't.
  15. MirrorMask
    This dazzling reverie of a kids-and-adults movie, an unusual collaboration between lord-of-the-cult multimedia artist Dave McKean and king-of-the-comics Neil Gaiman (The Sandman), has something to astonish everyone.
  16. The Prize Winner of Defiance, Ohio
    Anderson's adaptation is heavy on production numbers in which jingles come to life and light on conveying any real feelings of Eisenhower-era darkness the prizewinner herself might have felt during her decades of marriage to an abusive, drunken man.
  17. The War Within
    The War Within plays effectively off our voyeurism, yet it has such a cloistered, American-eyed view of the nightmare of terrorism that I kept searching for the profound explanation beneath its piecemeal ones.
  18. Forty Shades of Blue
    Director Ira Sachs moves to the rhythms of his native Memphis, teasing emotional resonance out of geography.
  19. A History of Violence
    David Cronenberg's brilliant movie -- without a doubt one of the very best of the year.
  20. Flightplan
    Since Foster plays warming-up-for-a-straitjacket panic with a clenched intensity rare to behold in a Hollywood actress, I, for one, was rooting for the radical -- that is, nuthouse -- option.
  21. Roll Bounce
    Bow Wow plays the skate-dance hero in a way that's never too cool to hide what an avid achiever the kid is, and he and his buddies converse in a fiendishly alert middle-class trash talk that keeps Roll Bounce jumping.
  22. Magnificent Desolation: Walking on the Moon 3D
    Aims for the junior stargazer in a release coinciding with NASA's new moon-by-2018 initiative. The movie is unmistakably a pitch, and an honorable one.
  23. Oliver Twist
    Yet precisely because this is by Roman Polanski, it's irresistible to read his sorrowful and seemingly classical take, from a filmmaker known as much for the schisms in his personal history as for the lurches in his work, as something much more personal and poignant.
  24. Everything Is Illuminated
    For one of those obstreperously original books that are themselves impossible to translate, Everything Is Illuminated is impressively well lit.
  25. Proof
    In Proof, Paltrow plays yet another young woman who is being gnawed at by termites of instability, only this time out, her performance, rather than startling, is merely competent: earnest and overly familiar.
  26. Cry_Wolf
    Cry_Wolf is underscored with idiot adolescent excitement (and gets extra absurdist points for casting Jon Bon Jovi as an educator).
  27. Just Like Heaven
    That Just Like Heaven succeeds at all - at least for teenage girls with limited interest in the drafting of living wills - is due entirely to Witherspoon's can-do charisma.
  28. Lord of War
    The result is a dead pile of information in search of a movie.
  29. Corpse Bride
    As an achievement in macabre visual wizardry, Tim Burton's Corpse Bride has to be reckoned some sort of marvel.
  30. Thumbsucker
    Pucci proves to be one of the most charismatic male ingenues since Johnny Depp.
  31. The Thing About My Folks
    Thing is Woody Allen on a third-grade reading level. Neurosis abounds, but awareness doesn't, and certain ''jokes'' demand additional therapy.
    • 42 Metascore
    • 50 Critic Score
    G
    "The Great Gatsby" was famously bungled in the pulseless 1974 movie with Robert Redford. G, which updates the story with an African-American cast, is another strikeout, further destroying F. Scott Fitzgerald's film batting average.
  33. Venom
    A mud-simple horror trudge set in a swamp colony of Abercrombie models.
  34. Separate Lies
    Wilkinson once again astonishes with his ability to convey weakness and strength, hypocrisy and gallantry, cruelty and compassion in the same male animal.
  35. The Man
    Most of The Man is as awful as last year's debacle, "Taxi," yet Levy, stuck in a no-brainer variation on Billy Crystal's predicament in "Analyze This," shows just enough noodgy passive-aggression to suggest what the movie might have been were it not shackled to buddy-action clichés.
  36. An Unfinished Life
    An Unfinished Life is inert, kaput -- a middlebrow mush of platitudes rather than an okay corral of distinct characters with heartbeats. It's awful not in an exciting, uncontrolled way but in an overly controlled, narcotized way.
  37. The Exorcism of Emily Rose
    Part "Law & Order," part "The Omen," the movie doesn't trust the audience to follow serious theological and legal discussion without a spook hook.
  38. Cote d'Azur
    The performances are mediocre. The heart is big. The weather is swell.
  39. Keane
    The movie draws us into complicity with someone who may be on the verge of insanity, but only because he's living with the unbearable.
  40. Kamikaze Girls
    For the Western viewer, the cultural divide acts as a saccharine filter, and Kamikaze, a cult hit in Japan, becomes a mesmerizing lesson in otherness.
    • 56 Metascore
    • 58 Critic Score
    Transporter 2
    The greatest thing about the movie is Statham, a charismatic silent, deadly type who deserves to take the wheel behind a better franchise.
  42. A Sound of Thunder
    So perfect in its awfulness, it makes one seriously consider a theory of unintelligent design.
  43. Underclassman
    The loserville teen comedy Underclassman is like a student project sloppily cribbed from other kids' notes -- kids who have seen "Rush Hour" and still can't get over how funny it is to stick a noisy black guy in a distinctly nonblack setting.
  44. Margaret Cho: Assassin
    Even those who may agree with Cho's agenda are never allowed to forget that it is an agenda.
  45. The Constant Gardener
    The movie is smart, serious, and adult about something that matters, but not at the expense of a kind of awful, sensual revelry as le Carré's capacious plot hurtles to its big finish.
  46. Games of Love and Chance
    The vérité fascinates, even if the artifice is obvious.
  47. The Brothers Grimm
    Strenous yet flat, The Brothers Grimm is a let's-see-what-sticks spectacle that, coming from Terry Gilliam, is more grim than "Grimm."
  48. The Cave
    Sci-fi horror aficionados, however, might want to look elsewhere for their scares, as they're unlikely to find any here. Fright-wise, The Cave is a dry hole.
  49. Undiscovered
    As Brier's comrade-in-lip-gloss, Ashlee Simpson, dressed to look like a teenybop girl version of Crispin Glover in "River's Edge," is the real deal -- in fake cred.
  50. The Baxter
    "The Station Agent's" Peter Dinklage provides diversion as a gay wedding planner.
  51. Dirty Deeds
    Too mild to be dirty, yet too dirty to be charming, and altogether too generic to be much of anything.
  52. The Memory of a Killer
    A lot of thrillers have asked us to identify with assassins -- but I'd be hard-pressed to name one that makes a hitman as sympathetic, if not sentimental, as The Memory of a Killer.
  53. Wall
    The interviews Bitton conducts, almost all with Arabs and Jews who share her despair, are less meaningful than what she captures in silence: the sight of farmers separated from their farmland, everyday people thwarted in their dailiness, and children playing next to what looks like prison walls.
  54. The 40 Year Old Virgin
    Buoyantly clever and amusing.
  55. Red Eye
    A good measure of the movie's white-knuckle fun comes from Craven's old-hand familiarity with the way thrillers tick.
  56. Valiant
    The CG is on the rubbery side, and the backdrops are jarringly 2-D. But Valiant isn't so hard to look at -- it's hard to listen to.
  57. Sympathy for Mr. Vengeance
    So badly told that it ends up dissecting a corruption that exudes from nowhere but itself.
  58. Supercross
    Amusingly, Supercross puts up a fierce anticorporate front, lauding the self-financed ''privateer'' over the ''factory'' cyclist. If this is a joke, few will get it.
    • 63 Metascore
    • 42 Critic Score
    Reel Paradise
    Pierson, with his carrot-thin frame, gogglish specs, and gnashingly quick temper, traipses around Taveuni like the king of the white-man geeks, alternately proclaiming the saintliness of his crusade and throwing tantrums whenever somebody else fails to sufficiently recognize it.
  60. The Skeleton Key
    For anyone zombified by creaky thriller clichés, Skeleton is a fine little shot in the head.
  61. Deuce Bigalow: European Gigolo
    While sloppier than the sloppiest of seconds, is laudable in one important regard: Its obsession with the male body.
  62. Four Brothers
    Because the script, riddled with verbal ugliness by David Elliot and Paul Lovett, sends the movie to a series of arbitrary nowheres, the final showdown for the Mercer boys and their enemies is just as meaningless and sense-deadening.
  63. The Great Raid
    The main problem? Raid lacks a center. It's an exhausted sprawl with multiple story foci, none of them terribly compelling.
  64. Asylum
    Nothing wrecks the mood of a high-toned British period piece about erotic obsession quicker than an unintentional laugh. In which case, prepare for Asylum to be derailed by snorts in all the wrong places.
  65. Grizzly Man
    A mesmerizing work of disturbing power and unease.
  66. Pretty Persuasion
    The movie wants so badly to be mentioned in the same breath as "Heathers" or "Election" that it's not even funny. Really, I mean it, this charred-black comedy is not even funny.
  67. Pulse
    Nothing in the two snail-paced hours of Pulse makes close to a shred of sense?
  68. The Century of the Self
    Rapt, heady, and startling: the most profound documentary I've seen this decade.
  69. Clean
    Not your average divorce gift: Clean's writer-director Olivier Assayas created the role of recovering rock-world druggie Emily Wang for his ex-wife, art-house/action-pic royalty Maggie Cheung (In the Mood for Love).
  70. The Dukes of Hazzard
    It's trash, all right, but perfectly skewed trash -- a comedy that knows just how smart to be about just how dumb it is.
  71. Broken Flowers
    A movie of uncommon sweetness and delight.
  72. 2046
    There are many places a visitor may go astray in 2046 -- places where the filmmaker appears to be a bit at loose ends too. Still, Wong's invitation -- ''Let's get lost'' -- is irresistible.
  73. My Date with Drew
    Stupefyingly tedious and annoying.
    • 51 Metascore
    • 50 Critic Score
    Saint Ralph
    At first, Ralph and the movie have moxie -- the kid even gets busted for pleasuring himself in the public pool. Then Ralph starts asking us to take this cornball mission seriously.
  75. Duma
    Ballard connects you to the beauteous inner calm of the wild, even if audiences today are looking for a lot less calm.
  76. Junebug
    Amy Adams in a performance as deep as it is delightful, is the film's heart and also its flaky, wonderstruck soul.
  77. Darwin's Nightmare
    Darwin's Nightmare points an all-purpose finger at globalization, yet the movie, as raw and vivid as it is, meanders terribly and - bigger problem - never hints at how the disasters it shows us are rooted in Africa's colonial past.
  78. Must Love Dogs
    This is a movie of fake conflict, fake heart, even fake doggy love.
  79. Sky High
    The flick is best in its bittier moments (watch for the stellar cameos), and there's nothing to trouble the tots.
  80. Stealth
    Stealth, a dregs-of-summer knockoff, is too ponderous and inept to serve a comparable function now, yet the film's lack of thrust may be related to an absence of conviction about its own war-is-a-videogame clichés.
  81. The Aristocrats
    The Aristocrats has a lot of laughs, but as it giggles and blasphemes its way into areas not so far removed from the scandalous landscape of the Marquis de Sade, the movie, funny as it is, becomes exhausting and a bit depressing.
  82. Tony Takitani
    It's a quiet dream of a movie, a vision of loneliness giving way to love, then to loneliness again; it's like "Vertigo" remade in a sedately haunted style of Japanese lyricism.
  83. Balzac and the Little Chinese Seamstress
    Enlightenment is good, Dai acknowledges. But the movie's more provocative assertion is the notion that ignorance was also a kind of bliss.
  84. The Devil's Rejects
    Zombie doesn't pretend to be on the side of the victims. He makes no bones about his identification with the sexy outlaw serial killers.
  85. Hustle & Flow
    The home-studio recording sequences in Hustle & Flow are funky, rowdy, and indelible. Brewer gives us the pleasure of watching characters create music from the ground up.
  86. The Island
    The Island begins with a whimper of interest as a cool-hued, cautionary exploration of the ethics of cloning, and ends, in a hail of product placement, with a dumb bang.
  87. Bad News Bears
    New-era losers (the cast is a cheery scrum of relaxed kids, led by genuine whiz pitcher Sammi Kane Kraft in the role created by Tatum O'Neal) now include a rotten kid in a wheelchair.
  88. 9 Songs
    Nobody will go to see Michael Winterbottom's sexually explicit, novelty-act drama - a naughty peep show for sobersides, disguised as a nature documentary - to hear the songs; everyone will go to see the shagging, which occupies the majority of the screen time.
  89. The Edukators
    A fluid and gripping drama from Germany (it has the design of a thriller and the mood of a spontaneous, whirling-camera character study).
  90. Last Days
    There is a method to its madness, since the madness here is really Cobain's. Last Days mythologizes his suicide as a haunting act of fulfillment: the consummation of a life that had already ceased to be.
  91. November
    The depth of the story and the characters is awfully slight to bear the weight of such fancy editing. But the performances are crisp and in focus, with Cox in particular showing a photogenic feel for expressing grief.
  92. Charlie and the Chocolate Factory
    Those Oompa-Loompas are the beat, and soul, of Burton's finest movie since "Ed Wood": a madhouse kiddie musical with a sweet-and-sour heart.
  93. Wedding Crashers
    Funny, ungirdled romp - a buddy picture about buddies who actually know what women want.
  94. Happy Endings
    There are pleasing outcomes for almost everyone in Happy Endings, and that's not good news.
  95. The Warrior
    Asif Kapadia's blazing feature debut, a gorgeously photographed saga with a fine sense of the way place shapes personality, has won numerous awards in the filmmaker's native Britain.
  96. On the Outs
    On the Outs parses the hopes and terrors of blasted lives with an empathy that never cheapens into pity. The movie wounds as much as it heals, and that's its true power.
  97. Murderball
    The filmmaking is as strong as the subject matter, with an elegant structure.
  98. Dark Water
    A shudder-by-numbers pseudo-J-horror gothic, full of supernatural stunts you feel as if you've seen before the movie even gets to them.
  99. Fantastic Four
    This clumsy, cheesy, chintzy adaptation, with its F/X that look dated the moment you see them, is like something left over from the '60s.
  100. The Beautiful Country
    Inside the Norwegian director's glove of empathy is a fist of unappeasable anger.
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