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 2.1 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
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    • 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.
  2. Prime
    Not one bit of the story tracks. But with these women in these roles, you're asking for truth?
  3. 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.
  4. 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.''
  5. 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.
  6. 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.
  7. 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.
    • 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.
  9. 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.
  10. 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.
  11. Final Destination 3
    What makes all of this ''fun,'' instead of dark or threatening, is that the victim was an idiot who leered at the class teases with horny glee.
    • 56 Metascore
    • 58 Critic Score
    Winter Passing
    Winter Passing is also being called ''the serious Will Ferrell movie,'' but he's not especially serious in it. Put it this way: His character Corbit is one of those movie types who's into ''kar-a-tay,'' which is a joke that must officially die.
  13. Dirty
    When the florid speeches of volcanic rage and frustration draw to a close - and when Collins and Gooding complete their acting exercises - we still have no clue who these men are and what sent them down their intersecting moral dark alleys.
  14. Aquamarine
    That everything gets worked out -- friendship affirmed, jokes made about silly magazine articles on reeling in a boy -- is as sure as the soundtrack's inclusion of a Mandy Moore song.
  15. Sorry, Haters
    The movie is cross-eyed with fuzzy thinking; it's also an interesting, if wacko, artistic response to world events.
  16. The Hills Have Eyes
    Where Craven and his director, Alexandre Aja, may have miscalculated is in making the genetically damaged demons, with their flesh-potato foreheads and minimal verbal skills, into monster action figures who take vengeance on the world that created them. They're not scary because they're victims themselves.
  17. Scary Movie 4
    And as ever, the jokes are a jumble of the gross, the baggy, the raunchy, the mistimed, and - every once in a while - the refreshingly incorrect.
  18. On a Clear Day
    Scottish actor Peter Mullan saves a drama tangled in the seaweed of life lessons from drowning in pathos.
  19. Kinky Boots
    The fact that this formulaically winsome movie, directed by British TV helmer Julian Jarrold, is based on product-line changes at a real Northamptonshire factory does little to freshen its approach.
  20. Wassup Rockers
    The sexy, scruffy, neo-Warriors pageantry of ghetto teen hunger would have been a lot more vital if Clark didn't have such a class-war chip on his shoulder.
  21. The Da Vinci Code
    The surprise, and disappointment, of The Da Vinci Code is how slipshod and hokey the religious detective story now seems.
    • 53 Metascore
    • 58 Critic Score
    Goal! The Dream Begins
    The cast, all around, is sterling. There's only one thing they don't need to bring back for the sequels, and that's the movie's appetite for every sports cliché there ever was.
  23. Wah-Wah
    An overdeveloped coming-of-age potboiler.
  24. Land of the Blind
    There's nothing particularly revolutionary about writer-director Robert Edwards' grimly satiric political fable.
  25. The Road to Guantanamo
    Here's one case where it's no praise to say that a movie leaves you with more questions than answers.
    • 42 Metascore
    • 58 Critic Score
    Barnyard
    It feels like Barnyard swipes too much of its plot from "The Lion King."
  27. Snakes on a Plane
    More potent than anything in Snakes on a Plane is the fantasy offscreen: that if enough people talk up their desire to see this film and, at the same time, take an overt delight in what an unabashed piece of junk it is, they will fuse with the hype, with the movie's mystique. They will not just watch Snakes on a Plane; they will own it.
    • 64 Metascore
    • 58 Critic Score
    Princesas
    The way that Aranoa so clearly venerates his lively women feels Almodóvar-esque, but the movie aims most of all to suggest that hookerdom is hell -- and it's neither realistic nor unsentimental enough to pull that off.
  29. Queens
    A threadbare crazy-quilt of Spanish sex comedies, Queens wants desperately to be "Women on the Verge of a Big Gay Wedding."
  30. The Last Kiss
    An alarming male wallow passing as a fetching date-night dramedy.
  31. Renaissance
    Connoisseurs of digital animation, graphic novels, and the history of dystopian art will have plenty to discuss about Christian Volckman's visually striking, technically impressive black-and-white animated feature Renaissance…But no one will be talking about the movie's banal plot, the trite dialogue, or any of the indistinguishable characters who offer a bleak futuristic vision of cinema that's all style, no soul.
  32. The Guardian
    The movie represents an earnest effort to compensate for all the love the media has shown to firefighters and other land-based first responders in recent years with little thought to the Coast Guard; the drama also crashes on wave upon wave of clichés.
    • 49 Metascore
    • 58 Critic Score
    Open Season
    The overfamiliar Open Season feels like just another CG 'toon in our 'toon-glutted times.
  34. Shortbus
    Shortbus is chipper, it's fresh, it emits a distinct musk of controversy. I'll take the longbus.
  35. The Grudge 2
    Once again, we're treated to loosely aligned scenes of half-formed characters getting a faceful of director Takashi Shimizu's croaking, implacable, and, yes, still scary housewife-geist.
    • 45 Metascore
    • 58 Critic Score
    The Marine
    A delectably bad '80s-style actioner.
  37. Nearing Grace
    Scott Sommer's late-1970s coming-of-age novel, with little of the vivid specificity of "Mean Creek," even though the two share a screenwriter and a producer.
  38. Jonestown: The Life and Death of Peoples Temple
    The Peoples Temple congregation was sizably African-American. But when it comes to how those followers turned into a zombie Kool-Aid death cult, Jonestown: The Life and Death of Peoples Temple leaves you with more questions than you went in with.
  39. 20 Centimeters
    Here's yet another self-consciously ''Almodóvarian'' confection, studded with small odes to the glory of self-creation.
    • 61 Metascore
    • 58 Critic Score
    Wondrous Oblivion
    Wondrous Oblivion goes awry in its sloppy racial drama, and although the cricket-training montages are good, they're still training montages, and this is just that kind of overfamiliar movie.
  41. Bobby
    Bobby coasts along on a dread, and sorrow, it doesn't earn.
  42. Deja Vu
    Déjà Vu is watchable trash, meticulously edited in Scott's skip-stutter style, but there's something ultimately unsatisfying about a thriller that more or less makes up its rules as it goes along.
    • 43 Metascore
    • 58 Critic Score
    Unaccompanied Minors
    Feig does wring out a few fleeting fun/heartfelt moments from the minors, and the movie's Christmas treacle is smoother than "Santa Clause 3's." But anyone old enough to go see this without a parent or guardian will have seen it all before.
  44. Breaking and Entering
    However admirably Minghella urges a break from complacency and an entry into a state of local/global compassion, his characters are position holders rather than people.
  45. Night at the Museum
    What a dull, nice movie, wrenched from a wild premise and battered into docility.
  46. We Are Marshall
    We Are Marshall has little of the bone-crunchingsincerity of the recent pigskin rouser "Invincible." This one is more like Unconvincing.
  47. Stomp the Yard
    The shallow frat-on-frat rivalry and the poor-boy-loves-rich-girl subplot don't mean a thing. But the stepping does got that swing.
  48. Blood and Chocolate
    Werewolves are tame with overuse, and movies like Blood and Chocolate -- where moments of inspiration vie in vain with Goth cliché -- play like underlit "Charmed" reruns.
  49. The Situation
    An overstuffed, unengaging drama that makes time for a love triangle.
    • 74 Metascore
    • 58 Critic Score
    Bridge to Terabithia
    The movie -- which never decides if it's a fantasy or coming-of-age story -- spends a lot of time away from Terabithia; that also leaches out the wonder. The boy seems more excited that Zooey Deschanel is his hottie music teacher than he is to see tree men in the forest.
    • 65 Metascore
    • 58 Critic Score
    Amazing Grace
    It's earnest, solemn stuff. The movie sings an old tune -- Albert Finney is the blind minister who wrote the title ditty -- and it leaves the blood unstirred.
    • 32 Metascore
    • 58 Critic Score
    The Hills Have Eyes II
    A retro horror-comedy featuring quick deaths and cheapo-looking gore, with a few dorky laughs and gross-outs but not so many scares.
    • 41 Metascore
    • 58 Critic Score
    TMNT
    This all-CG reboot is missing the goofy excitement of the old TMNT.
  54. Slow Burn
    A strange, sprained, but sprightly fusion of "The Usual Suspects" and the "Tragic Mulatto," Slow Burn wants badly to turn its standard neo-noir into a nuanced racial chiaroscuro.
  55. Georgia Rule
    A clunky family-therapy soaper.
  56. Brooklyn Rules
    The boys-in-the-Italian-hood clichés were penned by "Sopranos" scribe Terence Winter, so they have snap, if not freshness.
  57. Nancy Drew
    The culprit, I'd say, is the uninteresting casting of Miss Roberts in the title role. She's a pleasant enough performer, but her made-for-teen-TV acting style, a perky blandness, doesn't supply a clue as to the appeal of Nancy Drew after all these years.
  58. Evan Almighty
    The message is so good-hearted, so inarguable, so dull.
  59. Evening
    For all the creaminess of the sets and costumes, every character talks as if she is still made out of written words, not flesh, and each woman's struggles feel about as important as a tea dance.
  60. Time
    Time, Kim Ki-Duk's pointed commentary on surfaces and consumer fads -- with particular meaning for plastic-surgery-obsessed South Korea -- is as tautly ''pretty'' and inexpressive as the results for those who compulsively seek cosmetic perfection.
  61. No Reservations
    It's fun to see the glamorous actress turn down her movie-star flame, but it's a pity she's stuck with so many trite gestures on Kate's journey to fulfillment.
  62. Charlie Bartlett
    Robert Downey Jr. is an uncomfortable sight as the school's hard-drinking, overstressed principal.
    • 43 Metascore
    • 58 Critic Score
    Hot Rod
    Wait until the best parts pop up on YouTube.
  64. Rush Hour 3
    It's a jerry-built kick-ass insult machine assembled entirely out of secondhand parts.
  65. The Signal
    Mostly comes down to rage fiends going at one another with baseball bats, knives, pesticide tanks, and power drills.
    • 40 Metascore
    • 58 Critic Score
    Illegal Tender
    For a second, the movie has the snap of a truly surprising thriller -- like a Hispanic "Kill Bill" -- about an aging lioness willing to kill to protect her cub.
  67. Delirious
    It would be nice to see a sharp, funny, penetrating satire of the new, kicked-up culture of empty media fame, but Tom DiCillo's scattershot buddy movie Delirious isn't it.
  68. The Brothers Solomon
    The sheer, animal idiocy beaming from their faces in the opening credits of The Brothers Solomon creates the film's only moment of uncalculated comic joy.
    • 41 Metascore
    • 58 Critic Score
    Mr. Woodcock
    Uninspired, sure, but sporadically, spasmodically funny.
  70. The Brave One
    Everything about Foster's ocular intensity is riveting, but little in this hushed vigilante drama makes sense.
  71. Lust, Caution
    Lust, Caution wants us to feel the erotic ping of buttoned-up people ripping open those buttons, but too often it's the film's drama that's under wraps.
  72. Rendition
    Rendition certainly makes the case that torture, whatever name it goes under, is indefensible, yet one can agree with that view entirely and still feel that the movie is just a borderline exploitation of what anyone who reads the papers already knows.
  73. Things We Lost in the Fire
    No matter what panache Bier adds, Things We Lost is still a TV-scaled tear-duct drama about a beautiful woman who pushes past sadness in her House & Garden home.
  74. Elizabeth: The Golden Age
    Too bad Kapur's new, glittering sequel also shows up feeling prematurely old, square, and cautious. A production of exquisitely complicated wigs and expensively grand wide shots, it pauses often to admire its own beauty, leery of messing with previous success.
    • 48 Metascore
    • 58 Critic Score
    Martian Child
    The problem with Martian Child is that it wants to be a story about outcasts, but Dennis doesn't come off as a cute little rebel.
    • 33 Metascore
    • 58 Critic Score
    Awake
    Too bad, because until it essentially turns into a medical-thriller version of "Look Who's Talking," the movie hums along comfortably enough as slick B fare.
  77. The Walker
    The brittle, very ''written'' catty quips meant to characterize Washington hypocrisy sound perfunctory; the story of an aging, self-hating homosexual who goes home alone to his lacquered town house feels ancient as well as uncomfortable for the writer-director. (Harrelson seems both game and ill at ease.)
  78. Honeydripper
    True to his stolid, humanist instincts and characteristically stodgy directorial style, writer-director John Sayles creates a story more educational than engrossing.
  79. 27 Dresses
    27 Dresses is a movie geared to a pitch of high matrimonial-princess fever.
  80. Meet the Spartans
    Less classic Mel Brooks than middling "Best Week Ever."
  81. In Bruges
    Neither star is sloppy, but both are loose and mellow -- a couple of pros who know they're the whole show.
  82. Vantage Point
    Vantage Point starts to slide off the rails when it tracks a tourist (Forest Whitaker) and his trusty camcorder; instead of Zapruder-like intrigue, the episode has him running around like an agent in a rote thriller.
  83. London to Brighton
    Writer-director Paul Andrew Williams' unnecessarily hectic debut feature won several British film festival awards, no doubt for its bounty of low-budget stylized violence and blood, as well as its thing for prostitutes and runaways.
  84. College Road Trip
    At its best when it drops any pretense of plot for sheer goof (as when a Japanese sightseer belts ''Sister Christian'' on a karaoke tour bus), and at its worst when Lawrence manages to out-ham even his porky four-legged costar.
  85. Miss Pettigrew Lives for a Day
    Adams, of course, is a peach. Her sparkle requires only minor character adjustment and twinkle recharging from her recent triumph as the old-fashioned modern heroine in "Enchanted."
  86. Street Kings
    Every so often, Keanu Reeves' robo-voiced blankness serves him well, but when he has to play a pulpy, tormented demon-saint, scraping up insults and spitting them out like bullets, he's like the host of an infomercial doing an impersonation of a badass.
  87. Son of Rambow
    The team who made "The Hitchhiker's Guide to the Galaxy" display plenty of whirligig energy, if not much control or lightness of touch.
  88. You Don't Mess with the Zohan
    Forget "Monty Python," You Don't Mess With the Zohan is a circus that never really flies.
  89. Hancock
    Hancock can revel in schmuckery, of course, because you and I and cute kids and peaceful oldies worldwide know in advance that there's no way on Hollywood's green earth Will Smith will ever play someone seriously, dangerously unsavory.
  90. The Promotion
    The Promotion edges toward some pretty bleak stuff. Then it steps back and laughs, like an office slacker.
  91. Brick Lane
    One of those feminist cries in the dark in which the heroine, a saintly sufferer, is more admirable than interesting.
  92. Mamma Mia!
    It's tempting to say that Mamma Mia! has the worst choreography of any big-screen musical in history, though that would imply that what happens in the film IS choreography.
  93. The X Files: I Want to Believe
    Older and sadder, Mulder and Scully are no longer sure they've got the energy to even ask if the truth is still out there. And it feels as if Carter is skeptical, too.
  94. W.
    The intrepid one is the outstanding Josh Brolin, who does such a phenomenal job in the title role that he carries every scene he's in to a place of subtlety and integrity far beyond what Stone needs to make his attention-grabbing noise.
  95. Mirrors
    The movie could have been a lot scarier.
  96. Disaster Movie
    The movie is merciless sending up "Juno's" self-satisfied hipster gobbledygook, and it's quite funny to see Hannah Montana still promoting her tie-in products as she lies crushed and dying under a meteor.
  97. Ping Pong Playa
    Even the championship showdown feels polite.
  98. Phoebe in Wonderland
    As the school drama teacher who tries to unlock ''the real,'' Patricia Clarkson makes high theatrical solemnity funny.
    • 49 Metascore
    • 58 Critic Score
    The Family That Preys
    All over the place:It's a boardroom/family/couples/road-trip story.
  100. Forever Strong
    Despite all the macho posturing, the corny story is just as sappy as anything on Lifetime.
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