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. Saraband
    Anyone expecting a tender sunset elegy, however, has wandered into the wrong film. Saraband, despite a few wistful moments, is a poison pill of a reunion.
  2. Chronicles
    The moral murk of Crónicas would be more effective if the story weren't so contrived, yet the movie is worth seeing for Leguizamo's sinewy urgency, Alcázar's desperate cleverness as the killer, and the squalid, frantic atmosphere of Latin American hunger.
  3. Rebound
    The whole thing feels like a half-day of community service, which Lawrence walks through good-naturedly.
  4. The Beat That My Heart Skipped
    The Beat That My Heart Skipped lacks the screw-loose existential vibrance of "Fingers," yet it teases out a romantic underside to the original I never quite knew was there.
  5. Undead
    On the level of a no-budget student film in which the shots barely match up into sequences. It's about as much fun as watching blood dry.
  6. The World
    A film of wonderful looseness and innovation. Set free to film fakes, the director is the real thing.
  7. War of the Worlds
    An attack-of-the-aliens disaster film crafted with sinister technological grandeur -- a true popcorn apocalypse.
  8. Tropical Malady
    It took me two viewings to enjoy the landscape of Weerasethakul's mysterious jungle -- so very thick, steamy, and foreign -- without wishing for clearer trail markers.
  9. Bewitched
    The Ephron sisters, sophisticates entrusted with a simple TV situation comedy, lose the magic of the com as they mess with the sit.
  10. Land of the Dead
    In Land of the Dead there are virtually no good parts. The movie is listless and uninspired.
  11. Rize
    As long as it showcases the art of krump, underscoring the dancers with ominous hip-hop beats, Rize is such a vibrant eruption of motion and attitude that you can forgive the film for being disorganized and too skimpy on street-dance history.
  12. Yes
    Parse the philosophy behind the spill of words, though, and you'll find intellectual jumble, junk. Better to nod to Yes as a drowsing chant than take it seriously as a statement of global concerns.
  13. Lila Says
    Lila, played by Vahina Giocante, who resembles a sexed-up young Emma Thompson, is a teasing, 16-year-old blond baby doll with a gleam of perception beyond her years.
  14. March of the Penguins
    Luc Jacquet's exquisitely shot eye-of-God study of a year in the lives of these distinctive birds is a nature film built with a feel for the epic and a love of operatic narrative.
  15. Herbie Fully Loaded
    For those newbies, this update, starring peppery Disney re-do queen Lindsay Lohan as wannabe car racer Maggie Peyton, is as serviceable an introduction as any to the notion of a sentient set of wheels.
    • 70 Metascore
    • 75 Critic Score
    Pure
    Pure belongs to Eden, a remarkably strong child actor, and Deadwood's Molly Parker, broken and affecting as his sweaty, gear-crazy mum.
  17. The Perfect Man
    What sin did Heather Locklear commit to deserve her role in The Perfect Man?
  18. The Great Water
    An anguished Macedonian drama.
  19. Me and You and Everyone We Know
    Definition eludes the delicate pleasures of this marvelous, idiosyncratic movie collage.
  20. My Summer of Love
    Pawlikowski has made a romance that becomes a horror movie in which love, more than anything around it, is a delusionary fever to fear.
  21. The Talent Given Us
    A film of uncommon originality.
  22. Batman Begins
    A confidently original, engrossing interpretation.
  23. Mr. & Mrs. Smith
    For all the nimbleness of its first half and the chemical zing of Pitt and Jolie, the film devolves into a fractious and explosive mess, hitting the same note of ''ironic'' violence over and over.
  24. The Honeymooners
    Epps has a nicely beaten charm to him -- among the leads, he alone looks like he knows what a trip to the moon costs.
  25. High Tension
    The latest reshuffling of "Chainsaw" tropes.
  26. The Adventures of Sharkboy and Lavagirl 3-D
    Like choral singing and travel photography, this adventure is more fun for participants than it is for spectators.
  27. Howl's Moving Castle
    The worldview, the sense of childlike fun shaded with adult melancholy, and the joyful, serene attention to visual oddity and wordless beauty could only be made in Japan. And, specifically, made by Hayao Miyazaki.
  28. 5x2
    Feminist sanctimony, it turns out, looks much the same forward and backward.
  29. Cinderella Man
    How exceptional a film actor is Russell Crowe? So exceptional that in Cinderella Man, he makes a good boxing movie feel at times like a great, big picture.
  30. Lords of Dogtown
    Lords of Dogtown is a docudrama, rare in its grit and authenticity, that also strives for the mythical youth-rebel excitement of something like "8 Mile."
  31. Rock School
    I'd be lying if I didn't admit that Rock School, Don Argott's amusing and spirited documentary, would seem a heck of a lot niftier if its fire hadn't already been stolen by "School of Rock."
  32. Apres Vous (After You)
    Suicidal depression has rarely looked so amusing.
  33. Deep Blue
    Full of splendidly shot wonders.
  34. The Sisterhood of the Traveling Pants
    It's okay for a grown movie critic to admit she cried freely and with great feeling for more than half the movie, and grinned like a dork through the remainder.
  35. The Longest Yard
    Each joke and one-liner is a made-for-HBO zinger, each scene with Sandler a reaffirmation of the old friendship between the two successful SNL alums.
  36. Madagascar
    Dishes up some very corny jokes, but the images have a brighter-than-life vivacity.
  37. A League of Ordinary Gentlemen
    If you want a whiff of how unironic the 1970s were, consider bowling, a sport that on any given weekend was broadcast (usually on ABC) with the hushed solemnity of a moon launch.
  38. Saving Face
    The writer-director, Alice Wu, fudges a lot of the basics -- I never believed the heroine was really a physician -- but the final, proudly public girl-on-girl smooch still jerks a tear.
  39. Dominion: Prequel to the Exorcist
    Schrader, in Auto Focus, displayed a devious sense of sin, but in Dominion the Calvinist schoolboy in him insists on trumping sin with guilt.
  40. Second Best
    Second Best might have made a good stage monologue, but as a film it's overstated and barely baked.
  41. Star Wars: Episode III - Revenge of the Sith
    The one figure in Revenge of the Sith who taps the true spirit of Star Wars is Ewan McGregor: With his beautiful light, clipped delivery, he plays Alec Guinness' playfulness, making Obi-Wan a marvel of benevolent moxie.
  42. Mindhunters
    What does satisfy is the pleasantly becalming presence of "Deep" costar LL Cool J. He's fast becoming Liv Ullmann to Harlin's Bergman.
  43. Kicking & Screaming
    Kicking & Screaming may be a prefab cartoon out of the "Bad News Bears" cookie cutter, but Ferrell doesn't just save this junk -- he rules it.
  44. Monster-in-Law
    As for Monster-in-Law, it's tripe on a plate.
    • 58 Metascore
    • 91 Critic Score
    Unleashed
    Bounding out of the gate like a greyhound, Unleashed needs only its first 30 seconds or so to elevate itself well above the average action potboiler.
  46. Mad Hot Ballroom
    A testament to the discipline, humor, and life of kids who swing.
  47. My Mother
    Ma Mère, while less prudish than Catherine Breillat's dour deconstructions of sex, is also less competent. It winds up making incest look absurdly swank.
  48. Layer Cake
    Fast, convulsive, and densely exciting new British gangster thriller.
  49. Kings & Queen
    Gripping, highly original.
  50. Modigliani
    The lushness of a Modigliani is largely absent from Modigliani.
  51. Tell Them Who You Are
    Beneath its exploration of fatherly distance, this is really a portrait of why cranks make better artists than earnest nice guys.
  52. Crash
    The stunning, must-see drama Crash is proof that words have not lost the ability to shock in our anesthetized society.
    • 41 Metascore
    • 50 Critic Score
    House of Wax
    Except for when Paris is on screen giving us the winking sex eye, Wax is just a museum of gory, joyless, easy shocks.
  54. Kingdom of Heaven
    Scott, working from a script by William Monahan, is so busy balancing our sympathies, making sure no one gets offended, that he has made a pageant of war that would have gotten a thumbs-up from Eleanor Roosevelt.
  55. Jiminy Glick in Lalawood
    In his curdled-butterball way, Jiminy Glick may be the most acidic showbiz send-up since Andy Kaufman's Tony Clifton. This movie, though it has its moments, is a pedestal he didn't need.
  56. Mysterious Skin
    Mysterious Skin dawdles more than it flows, but it comes alive whenever Araki, hovering between tragedy and voyeurism, reveals how sex can tear lives to pieces.
  57. Brothers
    We do live in a fraught world of interconnections, Bier makes clear, and what happens far away matters, in unexpected ways, close to home.
    • 69 Metascore
    • 75 Critic Score
    Up for Grabs
    I say the movie is infuriatingly unfair to Hayashi; others will cry foul for Popov. See it with an umpire.
  59. The Hitchhiker's Guide to the Galaxy
    At selected moments the Pee Wee's Playhouse-scaled visual goofiness and flights of thespian bravura in this long-awaited movie adaptation of Douglas Adams' goofy-wise cult classic are in perfect celestial harmony with the existential tomfoolery of Adams' peerless (and peerlessly Monty Python-British) creation.
  60. xXx: State of the Union
    This is a B movie rooted in gut-level stirrings of power and retaliation.
  61. 3-Iron
    3-Iron is like a Raymond Carver story that slowly, inexorably takes on the dimensions of a ghostly fairy tale.
  62. Death of a Dynasty
    An amiably raucous, scorched-earth mockumentary.
  63. Funny Ha Ha
    Andrew Bujalski's Funny Ha Ha, an ebullient sliver of a movie, follows a group of men and women in their early 20s, and for once the un-dialogue dialogue doesn't come off as an affectation.
  64. The Holy Girl
    The blessings of salvation have rarely felt so mixed, the parameters of Lolita-hood so elusive - which is exactly Martel's specialty.
  65. Ladies in Lavender.
    His (Charles Dance) cinematic style mixes the scent of mothballs with that of the lavender in which these ladies are preserved.
  66. The Interpreter
    An elegant adventure of a different kind.
  67. A Lot Like Love
    A Lot Like Love is a lot like a romantic comedy, except that all that's keeping these two kids apart is the trivially insufferable movie they're in.
  68. King's Ransom
    Generic hip-hop soundtrack? Check. Aerial stock footage of milieu? Check. Hardy-har homophobia and misogyny? Check. Emasculated sub-Gump white dude played by Jay Mohr? Double check.
  69. Enron: The Smartest Guys in the Room
    A deeply straightforward yet beautifully crafted documentary.
  70. The Game of Their Lives
    Coaching from the same playbook with which they made "Rudy" and "Hoosiers," director David Anspaugh and screenwriter Angelo Pizzo create a reverent fable.
  71. Madison
    Director and co-writer William Bindley engages every move in the underdog playbook, including, but not limited to, the time the good citizens of Bedford Falls chipped in to make up George Bailey's shortfall in "It's a Wonderful Life."
  72. One Missed Call
    One Missed Call is so unoriginal that the movie could almost be a parody of J-horror tropes, yet Miike, for a while at least, stages it with a dread-soaked visual flair that allows you to enjoy being manipulated.
  73. The Amityville Horror
    Extraordinarily faithful to the spirit of that creaky, derivative, fly-infested, don't-go-in-the-attic boofest.
  74. House of D
    An overly picaresque first feature written and directed by David Duchovny, who also co-stars.
  75. Torremolinos 73
    Has the dubious distinction of being just about the mildest porno comedy ever made. It's like something the teenage Pedro Almodóvar might have written to shock his 10th-grade creative writing teacher.
  76. The Year of the Yao
    A skillful and winning piece of honest booster portraiture.
  77. Palindromes
    Then there's Todd Solondz's Palindromes, which is that rare event: a memorable provocation.
    • 33 Metascore
    • 25 Critic Score
    State Property 2
    State Property 2 is no more three-dimensional than your average brand-name-laden hip-hop video.
  79. Sahara
    This insanely busy, exceedingly long, and sometimes endearingly preposterous rendering has simply gotten the directions reversed in its insistence on sticking only to where men-who-make-adventure-flicks have gone before.
  80. Fever Pitch
    It's been a while since a movie made the game of love this winning.
  81. Kung Fu Hustle
    All of Kung Fu Hustle is like that: You don't just watch it, you ride with it, laughing all the way.
  82. Winter Solstice
    A realistic drama that looks and feels as inevitably true and moving as a good documentary.
  83. Major Dundee (re-release)
    If you want to see the missing link between John Wayne's squint and Clint Eastwood's sneer, look no further than Charlton Heston in Major Dundee.
  84. Eros
    For the invited filmmaker, the opportunity to make a statement is surely a thrill, but for the viewer - who can't pause indefinitely, as with a book, between stories - the focus-shifting is a demand.
  85. A Hole in My Heart
    To call Lukas Moodysson's A Hole in My Heart the feel-bad movie of the year would be an understatement -- it's the feel-sick movie of the millennium.
  86. Sin City
    Glued tightly from page to screen, Sin City is so seduced by the visual possibilities of sin that style becomes its own vice.
  87. Dust to Glory
    It turns out that speeding along dirt roads isn't nearly as photogenic - or as varied - as surfing is.
  88. Control
    Antal has assembled what may be the single most colorless group of mangy lowlifes I have ever seen.
  89. Look at Me
    The wry filmmaker has created an urbane society of family and friends as ridiculously pretentious and hypocritical as they are cultured, accomplished, and posh.
  90. Beauty Shop
    It's a boisterous and amiable movie but not, in the end, a very funny one.
  91. Oldboy
    Oldboy caused a love-it-or-hate-it stir at Cannes last year, and how could it not: It's an onslaught made to cause a sensation. Consider me simultaneously jolted and depressed.
  92. Guess Who
    Guess Who, with its PG-13 putdowns, turns into the kind of love story that Hollywood feels most comfortable with: a buddy movie, salt-and-pepper variety. All that's missing is the cop car.
  93. The Ballad of Jack and Rose
    Miller's theme is innocence, the loss of it, and the reclamation of equanimity in the face of that loss, and the music she makes is haunting.
  94. D.E.B.S.
    The movie has no wit, no charm, no cleverness, no traction. Simply put, it is no fun.
  95. Miss Congeniality 2: Armed & Fabulous
    Isn't exactly good - like "Legally Blonde 2," it's a more exaggerated, less buoyant sequel to what should have been a one-off comedy - but it's enjoyable.
  96. Mondovino
    The highest praise I can give to Mondovino is that it makes you want to sample every vintage it shows you.
  97. Ice Princess
    Peculiarly coy feminine-empowerment fable.
  98. The Ring Two
    The scariest thing in the not-scary-enough The Ring Two is the notion that even smart, attractive adults - yikes, even mothers - just never learn, either.
  99. Melinda and Melinda
    The best reason to see Melinda and Melinda is Radha Mitchell, who has her grabbiest role (or two of them) since she broke through with "High Art."
  100. Fifty-Fifty
    Working from a script cowritten with accomplished Siberian filmmaker Sergey Bodrov, the director creates a taut picture of a place, and a liberating moment of choice.
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