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. The Alamo
    Never harmonizes into a cinematic experience any more resonant than the average, manly, why-we-fight pic, or coalesces into a stirring cry for freedom.
  2. Ella Enchanted
    The hoot and giggle of a girl-power fairy tale blended from potions of ''Monty Python,'' ''Queer Eye for the Straight Guy,'' and ''Shrek.''
  3. Johnson Family Vacation
    Strands Cedric the Entertainer behind the wheel and forces him to motor a collection of laugh-and-learn wacky situations by sheer force of his outsize charm.
  4. Walking Tall
    There's not a guy I know who hasn't been looking forward to seeing The Rock pick up the big wooden stick first swung by Joe Don Baker more than 30 years ago.
  5. Spring, Summer, Fall, Winter... and Spring
    The triumph of ''Spring, Summer'' is that even those of us who don't happen to be Buddhists can catch a glimpse of ourselves in the spinning wheel of hope, destruction, suffering, and bliss.
  6. The Prince and Me
    In a series of endings, she, and the audience, are falsely promised that she can have it all. In other words, The Prince & Me is committed to the controversial American policy of No Fantasy Left Behind.
  7. Hellboy
    Directed by Guillermo del Toro with a colorfully kinetic visual imagination that seldom lets up.
  8. Home on the Range
    The conservatively cheery artistic style suggests that the animation team has been reading Sundance merchandise catalogs.
  9. Son frère
    Son Frère is hushed, clinical, grimly paced, and moving.
  10. The United States of Leland
    The United States of Leland is tedious yet infuriating, since its characters, all of whom seem to have emerged from a screenwriter's manual, are like exhibits in a thesis meant to indict the middle class for the crime of its collective dysfunction.
  11. Mayor of the Sunset Strip
    Gentle Bingenheimer, who retreats from being ''figured out,'' is dubiously honored with unenlightened commentary by people hell-bent on doing so.
  12. Never Die Alone
    Almost everything that frames the drug dealer's tale is facile and second-rate. Simply put, you don't believe it. What you do believe is DMX's cruel charisma.
  13. Scooby Doo 2: Monsters Unleashed
    There's nothing overtly better or worse about this sequel. But the ''kids'' look to be pushing 30 now -- an awkward age for theme-park performers.
  14. The Ladykillers
    A lot of good actors have gone to work for the Coens and ended up looking like puppets, but Hanks is too clever for that. He knows that he's playing a concoction rather than a human being.
  15. Jersey Girl
    For some four fifths of its length, Jersey Girl is as square as a turnpike-diner place mat.
  16. Ned Kelly
    A boggy mix of fact, fiction, and changeable wigs and beards worn by Heath Ledger in the title role, manages to shrink the grandness of the myth without clarifying our understanding of the man.
  17. Dogville
    This galvanizing cinematic work is also gorgeous, experimental, alive with a Scandinavian strain of chutzpah, and artistically elegant.
  18. Bon voyage
    Bon Voyage arrives like one of those old soldiers who stumbles from his hiding place unaware that the war is over and the world has changed -- and with it, French cinema.
  19. Taking Lives
    After ''Seven'' and three ''Hannibal'' hits, the audience tolerance for baroque serial-killer flourishes has been duly amped. We require sustained creativity in our sick violence, and Taking Lives, after a token bit of ghastly foreplay, loses its life.
  20. Intermission
    The first Irish creation I've seen in ages to pull off the high-difficulty feat of trafficking in grit, drollery, and emotion without turning to blarney as a crutch.
  21. Dawn of the Dead
    Don't leave before the final frame -- if you're still breathing.
  22. Eternal Sunshine of the Spotless Mind
    Watching Eternal Sunshine, you don't just watch a love story -- you fall in love with what love really is.
  23. Divan
    The serious struggle in this lilting doc is told with an inviting light touch and a big heart.
  24. Noi the Albino
    Paced a bit too glacially for my taste, yet it's worth sitting through for its trick ending, a twist of events as ominous as the landscape.
  25. Spartan
    Just cryptic enough to keep you guessing, and for some viewers that may qualify as a night out. But Mamet's gamesmanship was more fun when it was less eager to look important.
  26. Knafayim Shvurot
    That the story is so oldfashioned and domestic and the family so average and secular is, in its way, the wind beneath this Broken Wings.
  27. Secret Window
    Doesn't keep any secrets but an open one: that Johnny Depp is on a roll, and actor's block is definitely not his problem.
  28. Distant
    Ceylan, who also served as cinematographer, frames the affecting, unstudied performances in gorgeously chosen shots and nonevents that sometimes teeter on the edge of comedy before knocking us breathless with their emotional power.
  29. Agent Cody Banks 2: Destination London
    At bottom, there's just too much spy in young Cody, and too little kid. The writers might've taken (another) page from the ''Spy Kids'' playbook and infused the action with youth relevance.
  30. NASCAR: The IMAX Experience
    This otherwise entertaining, aficionado-oriented production, with its circus-act technology that lets a viewer feel, briefly, like a member of the Petty racing dynasty, is as gaudily patched with corporate sponsorship as the sport itself.
  31. Wilbur Wants to Kill Himself
    Too chicly depressive -- and, for the most part, too dull -- to bear.
  32. Games People Play: New York
    A bit of a tease itself. The movie keeps threatening to become amateur porn, like a risqué ''Candid Camera'' gone ''Dirty Debutantes,'' but it never quite gets there.
  33. Hidalgo
    Simplest of its charms is the opportunity to watch Mortensen adapt his charismatic demeanor of wary, taciturn soulfulness from that of a Middle-earth king-in-waiting to one fitting a half-Lakota horseman in 1890.
  34. Starsky & Hutch
    To turn fondly remembered TV trash into a movie that knows it's cruddy -- and that isn't, therefore, quite as cruddy as it might have been -- takes a perverse pinch of talent, if not style.
  35. The Reckoning
    The Reckoning, with a script by Mark Mills, demands close attention; it's a play of words and ideas crowding for consideration.
  36. James' Journey to Jerusalem
    You'd think that the film would ask you to be appalled at this scenario of forced servitude -- but no, it's treated as harmless and cute, like an Israeli ''Chico and the Man.''
  37. Club Dread
    A few gags are brilliantly staged, but most have a smug, collegiate take-it-or-leave-it quality that makes full-on belly laughter feel optional.
  38. Greendale
    In the history of rock-star indulgence on film, I would rank it somewhere between Bob Dylan's epic carnival of pretension ''Renaldo & Clara'' and the overblown messianic doldrums of 1982's ''Pink Floyd The Wall.''
  39. Twisted
    A pretty lousy movie, which would be offensive were it not safely neutered by its own stupidity.
  40. Dirty Dancing: Havana Nights
    There are two sparks of light amid the trifling dialogue and bad faux-'80s love-on-the-beach montages in Havana Nights, and they are the film's costars.
  41. Goodbye Lenin!
    A funny and intermittently sharp German satire that musters gentle nostalgia for East German communism while mocking the not-so-distant past.
  42. The Passion of the Christ
    Tempting as it may be to dismiss Mel Gibson as a glorified pain freak, dressing up a martyrdom fantasy in Aramaic and Latin, it would be more accurate, I think, to say that the filmmaker, a Catholic fundamentalist, presents his torture-racked vision of Jesus' last 12 hours on earth as a sacred form of shock therapy.
  43. Against the Ropes
    For all I know, Ryan's performance could be a dead-on Kallen impression. But what she appears to be doing is an impression of Johnny Depp doing an impression of Keith Richards doing an impression of Liz Taylor.
  44. EuroTrip
    In the world according to Eurotrip, the Europeans may be a twisted, outdated, ridiculous lot, but what defines them is that unlike the Americans, they've never quite evolved to irony: They treat even the scuzziest habits with dire sincerity.
  45. Confessions of a Teenage Drama Queen
    With no Jamie Lee Curtis as a volleying partner, though, Lohan's chipper energy is, like, so totally out of proportion given the colorless pliability of everyone around her.
  46. Kitchen Stories
    The icy whimsy of Kitchen Stories is certainly well sustained, but you don't laugh at the movie so much as wait for the joke to thaw.
  47. Welcome to Mooseport
    To a character, every man in this faux-homey burg has been castrated! They're all impotent buffoons!
  48. Lost Boys of Sudan
    Yearns to be optimistic (juxtaposed with the disaster of Sudan, it certainly has the right to be), yet that only ends up underscoring its ache of sadness.
  49. After the Life
    Genre-hoppers like Steven Soderbergh ought to love this neat triple doozy. [Note: From a review of the entire trilogy.]
  50. Charlie: The Life and Art of Charles Chaplin
    The nature of silent comedy was to elevate its heroes into myths, but after ''Charlie'' I can't wait to see Chaplin's movies again, this time to glimpse the man on the other side of the icon.
  51. The Code
    Doesn't have much time for refinement of image or elegance of plot. What it's got instead is an insider's feel for the local, excitable hoodlum life and speech.
  52. 50 First Dates
    As a comedy, 50 First Dates is standard Sandler, but as a love story it left me pleasantly buzzed, if not quite punch-drunk.
  53. Robot Stories
    The collection can be summed up in four words I never thought I'd see together: science-fiction chamber music.
  54. An Amazing Couple
    Genre-hoppers like Steven Soderbergh ought to love this neat triple doozy. [Note: From a review of the entire trilogy.]
  55. Osama
    The movie is a rare uncensored postcard from a ruined place, a document at once depressing and hideously beautiful that sketches the real hardships of trampled people -- specifically women -- with authority and compelling simplicity.
  56. Miracle
    Miracle -- the title taken from TV announcer Al Michaels' famous game-clinching cheer, ''Do you believe in miracles? Yes!'' -- wins not when it exhorts by word but when it shows by action.
  57. Barbershop 2: Back in Business
    Smart enough to hook us with the best thing it has going: Cedric the Entertainer's gruffly uproarious and lived-in performance as Eddie.
  58. Catch That Kid
    ''Kid'' seeks to ''empower'' its target audience of recent Pokémon grads with an adult antihero desperation that feels preemptive and inappropriate.
  59. The Return
    Can be interpreted politically or even biblically or not at all, as the elemental struggles between dominance and submission, impulse and action, man and nature, father and son, play out to their stunning conclusion.
  60. The Dreamers
    In The Dreamers, Bertolucci wants to take us back to a more revolutionary time, but mostly he ends up recalling the faded revolution of his own glory days.
  61. On the Run
    Genre-hoppers like Steven Soderbergh ought to love this neat triple doozy. [Note: From a review of the entire trilogy.]
  62. The Perfect Score
    The movie, which strains to be hip in a faux-1985 beat-the-system way, takes such a light view of cheating that it has the ironic effect of rendering the heist that follows utterly innocuous.
  63. The Big Bounce
    By not trying too hard, this remake of a dumb movie has got spring in its step. The bounce is on us.
  64. You Got Served
    The story is so bored with itself, it collapses -- but the diverse troupe of dance talents at least makes it an eclectic slide.
  65. Win a Date with Tad Hamilton!
    May find an audience, but I found it to be a leftover John Hughes triangle.
  66. Touching the Void
    The story itself is so powerful and troubling, the moral geometry so vertiginous, and the photography so big that anything other than the natural sounds of snowfall and footfall is a Flat Earth Society intrusion.
  67. The Butterfly Effect
    Kutcher is the wrong actor to anchor a psychological freak-out.
  68. Teacher's Pet
    The somewhat rococo songs and earthy pop-art animation tread a very fine line between heady and headachy.
  69. Torque
    The movie is a guzzle of yahoo-Mountain Dew empty-calorie satisfaction: A quick blood-sugar high, an eyeful of bikes and bosoms, and you're out of the theater in 80 minutes. And on a bleak winter's day, that can be meal enough.
  70. Along Came Polly
    Along Came Polly is nothing if not a chick flick for guys.
  71. Tokyo Godfathers
    Like the comic strips of Ben Katchor, Tokyo Godfathers artfully appreciates the beauty and humanity in junked lives and landscapes.
  72. My Baby's Daddy
    A fairly harmless fertility rite with a skewed if not downright ugly view of women.
  73. Aileen: Life and Death of a Serial Killer
    On the eve of Wuornos' 2002 execution, Broomfield digs deep into her abusive hell of a background (beatings, incest, sleeping homeless in the frozen Michigan woods) as well as her quasi-psychotic defense mechanisms.
  74. Chasing Liberty
    At least some Goode may come from Chasing Liberty: I hope we'll be seeing more of the handsome and unboyish young man with big star potential who looks ready to take on more, not Moore.
  75. The Battle of Algiers
    Nearly four decades ago, Pontecorvo anatomized the very form of modern terrorist warfare: the hidden cells, the cultish leaders, the brutish cycle of attack and counterattack.
  76. Japanese Story
    This is an origami story, really, about what a construction of chance the big world is.
  77. The Company
    The key to The Company is the quiet, focused rapture of Neve Campbell, who formally trained in ballet and performed all of her on-screen dances. The tranquil delight she takes in her body becomes its own eloquent form of acting.
  78. Paycheck
    The amazing thing about John Woo's steely, impersonal adaptation of Philip K. Dick sci-fi story about a tech genius whose memory is erased...is how it vanishes in front of our eyes even as we watch it.
  79. The Young Black Stallion
    The hoofbeats are seismic, the music is like hot cheese, and the sandy vistas thrill appropriately: It's a perfectly rousing Ben-Her of a centerpiece.
  80. Cold Mountain
    Minghella's adaptation of the 1997 Charles Frazier novel is emotionally detached and almost too studiously carpentered: a willed exercise in mythmaking.
  81. Cheaper by the Dozen
    Martin and Hunt are exactly the right lively but not sticky authority figures to keep the house (and the comedy pace) bouncing.
  82. Peter Pan
    A bright, whirling pinwheel of a movie that tosses around special effects like confetti, but the techno magic is graced with a touch of sensuality.
  83. Monster
    In Monster Theron undergoes one of the most startling transformations in the history of movies.
  84. Calendar Girls
    While each Yorkshire playmate-of-the-month warmly assesses her own undewy flesh, the movie gives off a happy vibe of appreciation -- for the dignity of the real Rylstone lot, the actresses who play them so lovingly, and the simple, flower-bed borders of the story.
  85. The Fog of War: Eleven Lessons from the Life of Robert S. McNamara
    Errol Morris may have been put on earth to make The Fog of War, a stunning portrait of Robert S. McNamara that closes a year of outstanding nonfiction movies on a high note.
  86. Mona Lisa Smile
    It's a gussied-up sorority-of-rising-stars project produced, I fantasize, by baby-boomer studio guys whose younger spouses articulately defend a woman's right to stay home and raise the kids.
  87. House of Sand and Fog
    Just because a scenario turns dark doesn't mean that it's convincing. House of Sand and Fog is artful until it lunges for Art.
  88. The Lord of the Rings: The Return of the King
    The conclusion of Peter Jackson's masterwork is passionate and literate, detailed and expansive, and it's conceived with a risk-taking flair for old-fashioned movie magic at its most precious.
  89. The Statement
    If any actor could reveal the squirmy soul of a war criminal, it's Caine, so it feels like a cheat when The Statement gives him nothing to portray but self-condemnation.
  90. Prisoner of Paradise
    Gerron's terrible film was never shown in the places it was meant for, but in Prisoner of Paradise it reveals a queasy corner of the Nazi mind that tried to imagine a concentration camp as it fantasized the inmates might have.
  91. Love Don't Cost a Thing
    You realize you're watching a snuff film, where the victim isn't just teen innocence but teen romance.
  92. Stuck on You
    Has a fractured fairy-tale charm, even if it isn't a nonstop laugh riot.
  93. Something's Gotta Give
    Every moment spent in the company of Keaton... is such a joy that the whole is more delightful than the sum of the formulaic ingredients. Keaton makes Nicholson bounce the way Shirley MacLaine once did in ''Terms of Endearment.''
  94. Girl with a Pearl Earring
    The actress (Scarlett Johansson) gives a nearly silent performance, yet the interplay on her face of fear, ignorance, curiosity, and sex is intensely dramatic.
  95. Big Fish
    The movie is a gently overstuffed cinematic piñata, crammed with tall tales -- with giants and circuses and fairy-tale woods, plus a huge squirmy catfish, all served up with a literal matter-of-fact fancy that is very pleasing.
  96. Monsieur Ibrahim
    The movie is sometimes profound in its simple, optimistic message of friendship -- and sometimes it's plain simple.
  97. Honey
    Despite some sizzle with love interest Mekhi Phifer, the alluring Alba ends up a desexualized mouthpiece.
  98. The Last Samurai
    A handsome epic, a brave-hearted 19th-century man-saga from the director who made the period piece man-sagas ''Glory'' and ''Legends of the Fall.''
  99. My Flesh and Blood
    You'd have to be a stone not to be affected by My Flesh and Blood, but the director, Jonathan Karsh, merges compassion with voyeurism until you can't tell the difference.
  100. Timeline
    Special kudos go to Walker, for his dead-on impression of a time-traveling 2x4, and the perpetually hysterical O'Connor, who delivers one of the most grating performances in history.
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