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. Steamboy
    It's nifty to behold, but about the only drama in Steamboy lies in waiting for this colossal hovering machine-monster to blow a gasket.
  2. Hostage
    My new theory is that Willis' own aesthetic soul is more old-world than he knows, and that he works best with directors who either are (Luc Besson) or might as well be (M. Night Shyamalan) European.
  3. Robots
    Zippy, enjoyable sci-fi slapstick jamboree.
  4. The Upside of Anger
    The Upside of Anger is overly therapized, yet Costner and Allen show you what it means not just to play a role but to inhabit it.
  5. Millions
    This sincere, delicate, and intrinsically religious comedy may also become that most unexpected of blessings - Danny Boyle's first family classic.
  6. In My Country
    In My Country doesn't so much explore as use the tragedy of black South Africa to give its heroine a righteous slap of nobility.
  7. Mail Order Wife
    It took gifted hucksters to make this movie, a funny and spirited - what to call it?
  8. The Boys & Girl from County Clare
    Feel-good ethnocomedy.
  9. Don't Move
    Told in a tricky flashback mode that's vivid even with a few too many temporal kinks, Don't Move is the sort of thing that Claude Chabrol was once praised for making with more pretension and a lot less less juice.
  10. Dot the I
    The movie is in love with its own story loops and fancy, pop-dream cinematography from Almodóvar associate Affonso Beato, which is fine; it's also in love with its own indie-culture cleverness, which isn't.
  11. Off the Map
    This is a character study more than a forward-moving drama, plopped down with exquisite photographic care in a beautiful New Mexico desert, and starring good actors who make a feast of their flavorful roles.
  12. Be Cool
    The hell of it is, Be Cool is tepid entertainment that could be cool if it spent less time entertaining us as if we were demanding a definition of rhythm.
  13. The Jacket
    Director John Maybury has a feel for shock rhythms, and he's skillful at keeping you guessing, but after a while you want your questions to cohere into compelling answers, and in The Jacket they don't, quite.
  14. The Pacifier
    A yawn-by-numbers romper-room dud.
  15. Dear Frankie
    A Scottish weepie of such bathos and balderdash that it deserves a drinking game in its rotten honor.
  16. Face
    Face becomes a study of the immigrant embrace of freedom in America - a bridge built over time and generations.
  17. Gunner Palace
    The film's fragmentary structure, though, is suspect. It says that the soldiers find no real meaning in their combat actions, yet Gunner Palace presents the operations we're seeing in so little context, reducing them to a random hash of ''sensational'' moments, that Tucker at times appears to be exploiting the war to create a didactic canvas of manic military unease.
  18. Intimate Stories
    But while this piquant, tapas-like movie (a 2003 film- festival favorite only now being released) asserts that landscape is a kind of destiny from which one cannot escape, Sorin takes delighted, serious interest in how far a person can advance psychologically, even if all roads lead back to a home at the end of the world.
  19. Walk on Water
    At times too movieish, yet Ashkenazi creates a memorable figure: a spy who operates - admirably - out of the most unyielding nationalist conviction, only to learn that he needs to let some of that conviction go.
  20. The Best of Youth
    Like a great novel from a more expansive bygone age, The Best of Youth is full of big thoughts; like a great soap opera, it's also full of sharp plot turns, vibrant characters, and great talk. It is, in short, the best of cinema.
  21. Cursed
    Screenwriter Kevin Williamson (the Scream trilogy), having bottomed out in the horror genre, now dips below bottom (there isn't a line that has his knowing sweet-and-sour zing).
  22. Diary of a Mad Black Woman
    A bad movie so over-the-top that at moments it's almost good - or, at least, more arresting than it has any right to be.
  23. Man of the House
    Walking the path grooved by such stone-faced confreres as De Niro and Schwarzenegger (and following up on his own more successful self-parody in "Men in Black"), Jones positions himself as a Man in a Stetson.
  24. Up and Down
    Up and Down captures Prague life with a fervor that's comical but a longing that's serious; no one is easy to pigeonhole.
    • 85 Metascore
    • 42 Critic Score
    Turtles Can Fly
    Lacks grace, coherence, and a surface vivid enough to make it an alarm that many will hear.
  26. Because of Winn-Dixie
    To Winn-Dixie's great credit, both as a book and as a dandy, dignified movie, there's nothing condescendingly lesson-like in the wisdom India acquires.
  27. Constantine
    The movie is ornate, arbitrary, and fetishistic, too, with the added challenge of being hell to follow for those without access to crib notes. Intellectually, I can admire the emphasis on visual style over plot clarity.
  28. Son of the Mask
    The characters twirl around like mini tornadoes, but between random brash moments of technological eye-tickling, Son of the Mask sags more than it spins.
  29. Nabbeun namja
    Really, who needs a bad guy who's this guilty about being bad?
  30. Bigger Than the Sky
    A huge pile of horsefeathers is being peddled as fairy dust in Bigger Than the Sky.
  31. Downfall
    If I respect Downfall more than I was enthralled by it, that's because its portayal stops short of revelation. Once you witness Hitler's denial, the film has little more to say about him.
  32. Cinévardaphoto
    What lights Cinèvardaphoto is Varda's ageless ability to merge her spirit with that of the images she shows us.
  33. Ong Bak
    Ong-Bak (taken from the name of the sacred statue) is delivered raw, with an on-the-fly compositional approach from director Prachya Pinkaew that includes dim lighting and jumbled editing.
  34. Bride & Prejudice
    Under the direction of "Bend It Like Beckham's" Gurinder Chadha, this festively busy and exuberantly multicultural charmer is its own intriguingly postmodern creation.
  35. Hitch
    Will Smith, taking a break from summer sci-fi smashfests, certainly shows a gift for modulation. Far from coasting, he plays a world expert at romance by ratcheting his charm up and down in supple, exacting degrees.
  36. Inside Deep Throat
    Nimble, engrossing, and journalistically eye-opening, a movie that pulls into focus 30 years of porn in America. It also pulls no punches.
  37. The Wild Parrots of Telegraph Hill
    In watching the birds and the man with an affectionate, curious eye, the filmmaker builds a story of surprising emotional resonance.
  38. Pooh's Heffalump Movie
    Pooh's Heffalump Movie is a harmless little ''ex-po-tition'' (to use a Pooh-ism). Still, making this your kids' first Pooh experience would be like weaning them on New Coke.
  39. Nobody Knows
    Yagira's performance is so extraordinary, it won him the best actor prize at the 2004 Cannes film festival.
  40. Boogeyman
    This is strictly substandard stuff, with imitative creepy noises, vertiginous camera angles, and long pauses.
  41. The Wedding Date
    So many body parts from other engineered romantic comedies have been crudely harvested and stitched together in the making of this weird robotic lark that "Maid of Honor of Frankenstein" might be more useful a nickname.
  42. The Nomi Song
    Forget Devo, Nico, Bowie, or Beefheart: The most mesmerizing freak show in the history of rock & roll was Klaus Nomi.
  43. Rory O'Shea Was Here
    Rory O'Shea Was Here gazes at the physically afflicted and just about begs for our sympathy long after we've grown restless and eager to feel something else.
  44. Assisted Living
    Parts of the film play like the world's slowest and most insensitive reality show (Who Wants to Be an Octogenarian?).
  45. Daybreak
    The snappish domestic infighting is effectively staged, yet beneath its ''raw'' atmosphere Daybreak traffics in pop-sociological clichés.
  46. Travelers and Magicians
    The (mild) intrigue of Travellers & Magicians is that its central figure, Dondup (Tshewang Dendup), rolls his eyes at Buddhist karma.
  47. Alone in the Dark
    Far be it from me to dismiss a man's effort (Uwe Boll) in a sentence, but the film on your teeth after a three-day drunk possesses more cinematic value.
  48. Hide and Seek
    Hide and Seek, despite early signs of higher goals, is a factory-standard box of shocks.
  49. Aliens of the Deep
    Gorgeous as the underwater life-forms are, the excitement of Aliens of the Deep comes from that most old-school, low-tech of elements: real human beings.
  50. Lost Embrace
    It's in the brightly observed vignettes from mall-society life, captured with a low-key, on-the-run visual style, that Burman shows his best stuff and deadpan wit.
  51. Are We There Yet?
    It's been a while since we saw a bad John Hughes comedy, and Are We There Yet? more than fits the bill (even though Hughes had absolutely nothing to do with it).
  52. Head-On
    Propelled by ferocious sex, nasty violence, and coy interludes of traditional Turkish love songs.
  53. Assault on Precinct 13
    Volatile yet fairly lunkheaded.
  54. Coach Carter
    Jackson, though, does lend this earnest formula flick a core of conviction.
  55. Elektra
    Just as all regular models can't be supermodels, so all action chicks can't be superheroines. Elektra Natchios turns out to be walled off rather than mysteriously alluring; blank rather than deep.
  56. Racing Stripes
    So what disturbed me? It was the Shetland pony, which sports both Dustin Hoffman's pipes and his "I Heart Huckabees" toupee, and will haunt my nightmares forever.
  57. The Chorus
    The movie is rotten the way that only a denatured made-for-export slice of Gallic nostalgia can be.
  58. Appleseed
    At this point, there's something almost masochistic about the way animators in Japan use cheesy ''Westernized'' heroes to fuel their fantasies.
  59. White Noise
    What might have been a rote horror exercise becomes instead a twitchy, mannered, often amusing rote horror exercise.
  60. Sky Blue
    When a brilliant fish wriggles by, even a less than ardent anime viewer will want to freeze the frame and gape.
  61. A Love Song for Bobby Long
    A poky dawdle of a Southern-style indie that would pass without notice but for John Travolta and Scarlett Johansson.
  62. The Assassination of Richard Nixon
    Director Niels Mueller's attempt to create a middle-class "Taxi Driver" (he tips his hand a bit smugly by respelling Byck's name to evoke Travis Bickle) has a creepy, meticulous exactitude.
  63. The Merchant of Venice
    Pacino shows you what is only subliminally in the text: that Shylock's heart of stone is really a wall of wounded pride.
  64. In Good Company
    The denouement of the movie is as preposterously happy as a children's fairy tale. But the moral is ageless.
  65. Fat Albert
    The sermonizing on behalf of good clean fun and hard old effort (Cosby co-wrote the script) is as faded as Big Al's sweater after too many days on earth.
  66. Darkness
    Darkness was clearly tossed together like salad in the editing room, since it's little more than the sum of its unshocking shock cuts.
  67. The Woodsman
    Worth seeing for Bacon's lived-in minimalist purgatory, but the movie soft-pedals the nature of the desires he's at war with: the fact that they will never go away.
  68. In the Realms of the Unreal
    A singular and haunting experience.
  69. The Phantom of the Opera
    The result isn't liberated from the stage; it's trapped, with waxworks literalness, onscreen.
  70. Meet the Fockers
    The old-pro twosome of Streisand and Hoffman make such sexy and inviting ethnics (as a certain kind of movie likes to think of a certain kind of Jewish character) that they blithely prevail over the been-there-done-that gags.
  71. Hotel Rwanda
    A strange history lesson that leaves us more overlectured than properly overwhelmed.
  72. Imaginary Heroes
    Nothing in Imaginary Heroes rings true, least of all a plot that lightly combines domestic abuse, adulterous pregnancy, teen bisexuality, job abandonment, and a possible case of Mysterious Movie Disease. These are not ordinary people. Or real ones.
  73. Beyond the Sea
    Weirdly moving.
  74. Flight of the Phoenix
    Refreshingly, it's actually about action, albeit arbitrary action, and how it defines us and keeps us alive.
  75. The Sea Inside
    The classy production, with its aesthetic graces, is especially convincing about the charisma of the man, a performance specialty of the great Bardem.
  76. Spanglish
    This is a deeply unpleasant movie masquerading as a heartfelt social commentary on life in these United States.
  77. The Aviator
    Scorsese, I think, is so invested in making The Aviator upbeat and rousing that the movie never quite reveals, the way that "Kinsey" or "Ray" or "A Beautiful Mind" or even a good E! True Hollywood Story do, how its hero's vision and his grand torments could be flip sides of the same temperament.
  78. Lemony Snicket's A Series of Unfortunate Events
    Isn't nearly as cheerily unpleasant as it ought to be.
  79. Million Dollar Baby
    A movie of tough excitement and surprise, even grace.
  80. Dolls
    As an exception to the norm, Kitano doesn't appear this time, confining himself merely to writing, directing, and editing.
  81. Ocean's Twelve
    What's on screen is lazy, second-rate, phoned-in -- a heist in which it's the audience whose pockets have been picked.
  82. The Life Aquatic with Steve Zissou
    As someone who has warmed up to Anderson's work only gradually, I'd call this a step back for him, but I also can't help but wonder: Will he ever take that crucial step forward and stop saying, Isn't it ironic?
  83. Born Into Brothels: Calcutta's Red Light Kids
    Designed to be "inspirational," yet it shortchanges the complex reality of the lives it makes such a show of saving.
  84. Blade: Trinity
    Blunt-witted, visually pedestrian, and overly long, with too many scenes of Blade and his cohorts standing around in darkened corridors, waiting for their enemies to show up. The action, however, is as throat-grabbing as you want it to be.
  85. House of Flying Daggers
    An outrageously gorgeous spectacle of balletic aggression. At the same time, it offers something we rarely encounter in a whirling martial-arts extravaganza: a romantic passion that's woven into the very fabric of the action.
  86. Conspiracy of Silence
    Want Jesuitical fineness of argument? Look elsewhere. This one merely answers the prayers of those looking for an argument.
  87. The Deserted Station
    Slow going, but I mean it as no insult when I say that it bored me, in the end, to tears.
  88. I Am David
    The movie meets the requirements of the "Life Is Beautiful" school; those loyal to the tougher, more stringent Osama academy of realism need not apply.
  89. Closer
    The last thing Marber's quartet of modern miserables needs is to be admired; they are the very worst of average people, but on screen they have become the very best of the baddest.
  90. Guerrilla: The Taking of Patty Hearst
    A gripping documentary that uses voluminous period evidence — unedited news footage, tape recordings of SLA leader Cinque's rants — to brilliantly reconstruct the entire freak event.
  91. Purple Butterfly
    Too often, Purple Butterfly is as impenetrable as Zhang's placid, obdurate beauty.
  92. A Very Long Engagement
    This is a movie that considers graphic violence with a refined taste for the sensuous: Guts spill, blood spurts, corpses stink, but there is a handsome, absurdist humanity to the way Jeunet (who wrote the script with Guillaume Laurant) maps out the crossroads of human carnage and human caring.
  93. Notre musique
    Notre Musique is Godard's post-9/11 statement, a meditation on how war emerges from the eternal, and hypocritical, duality of human perception -- the sense that it's always ''the other'' who dies.
  94. Christmas with the Kranks
    In its hostile sitcom way, Christmas With the Kranks is a paranoid comic nightmare of conformity gone mad.
  95. Alexander
    An exhausted epic, one that Stone has directed with an almost startling lack of personality or vision.
  96. National Treasure
    The character of a scruffy computer nerd, played with might-as-well-enjoy-myself charm by little-known actor Justin Bartha, steals the picture from glossier players.
  97. Bad Education
    It's a film noir that grows more potent as its secrets are revealed.
  98. The SpongeBob SquarePants Movie
    The best moments in his first movie outing are those that feel most TV-like, just another day in the eternally optimistic undersea society.
  99. Bright Future
    The most spellbinding aspect of Bright Future is that the surrealism sustains its own squiddish logic, concluding with one of the most breathtaking film finales of the year.
  100. Little Lili
    Because the talk never gets beyond statement making, and because the characters emit none of Chekhov's radiantly lived-in soulfulness, there's plenty of time to appreciate the sun-kissed landscape.
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