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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  1. 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.
  2. The Faculty
    In a strange way the Williamson of "Dawson's Creek" is now at odds with the sophisticated joker who wrote "Scream."
  3. Titus
    Remains a sampling of stagy scenes barreling to a gruesome climax, parts greater than the sum of the whole.
  4. Rugrats Go Wild
    Mildly amusing, but compared to Pixar's splashy fish story, the rudimentary drawings and childish gags of Nickelodeon's latest feature look, in a word, cartoonish.
  5. The Scorpion King
    Isn't incompetent; it's just plodding and obvious. If anything holds it together, it's The Rock's ironic ability to tread lightly, which the movie is neither fast nor inventive enough to recognize as different from the spirit of Arnold.
  6. Agent Cody Banks
    The real mission is product placement, of course: The movie seems to be set against the silvery backdrop of the Sharper Image catalog.
  7. Stir of Echoes
    Offers tricky fragmentation without mystery or mood; it's a mosaic of fear that grows less and less unsettling as it comes together.
  8. Love the Hard Way
    Adrien Brody completists will appreciate Love the Hard Way, if only as an example of the kind of self-conscious, brat-noir projects their man probably won't be doing anymore.
  9. Borstal Boy
    A quaint, romanticized rendering.
  10. The Real Blonde
    Modine, as a morosely self-involved actor, looks as if he's about to strangle someone -- and the movie, an attack on superficiality, never quite makes it out of the shallow end.
  11. What Dreams May Come
    So diaphanous it practically dissolves as you watch it.
    • 66 Metascore
    • 58 Reviewed by
      Ty Burr
    Dark City
    It's a little short on coherence and long on comic-book sensationalism -- dig the hokey, climactic Battle of the Minds between the hero and a cadaverous Mr. Big -- but there's no denying the nightmarish pull of the film's aesthetic.
  13. Romy and Michele's High School Reunion
    This sloppy, pleasant comedy by playwright and TV producer Robin Schiff (Almost Perfect) is an amiable mess, a padded-out expansion of a play called "Ladies' Room."
  14. Her Majesty, Mrs. Brown
    Elegant yet surprisingly remote royal-court drama.
  15. Pokémon: The First Movie - Mewtwo Strikes Back!
    A dismayingly impersonal piece of anime, genial yet chaotic.
  16. 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.
  17. Bamboozled
    Nothing Lee has done is as flashy or as mucked up as Bamboozled.
  18. Beloved
    Winfrey's performance is full of stoic anger, and individual moments have ferocity and pull, yet you're always aware of them as moments.
  19. How to Lose a Guy in 10 Days
    With its ungainly double-deception premise, How to Lose a Guy feels like it was made out of two connect-the-dots drawings laid haphazardly on top of one another.
  20. 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.
  21. The Anniversary Party
    As a work of art, the movie, shot quickly on digital video, is genial enough if unrefined.
    • 48 Metascore
    • 58 Reviewed by
      Ty Burr
    Kiss Me, Guido
    If writer-director Tony Vitale ladles on the cliches with extra sauce, Guido still has a hey-Ma-I'm-makin'-a-movie enthusiasm that's more infectious than it has a right to be.
  23. Undercover Brother
    Lee's images of black and white stereotypes are agreeably silly yet altogether too thin and vanilla safe.
  24. Steal This Movie
    Scrappy and rambling and overly earnest.
  25. Driven
    Mostly preposterous, and it has no dramatic center, but the racing scenes hold you in their death-trip grip.
  26. 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.
  27. Inventing the Abbotts
    The only real heat among the group comes from Jennifer Connelly, who, as the bad-girl middle daughter, raises the stakes any time she's on screen.
  28. Cabin Fever
    A big, dumb, crude, noisy, goose-the-audience bash and proud of it. It's not nearly as unsettling as ''28 Days Later.''
  29. The Texas Chainsaw Massacre
    The gruesomely unnecessary remake of The Texas Chainsaw Massacre is such a smorgasbord of slimy grunge that to call the movie gross wouldn't do it justice -- it's downright sticky.
  30. Star Wars: Episode II - Attack of the Clones
    Here we are again: not entertained, not nearly enough, by an installment of the ''Star Wars'' epic that, for the first time, exhibits symptoms of...nerves. And a chill, conservative grimness of purpose, rather than an excited thrill at the possibilities of cinematic storytelling.
  31. Tomorrow Never Dies
    The film forgets that Bond's most dangerous actions have always been his quietest ones, in which he uses his charisma to turn his enemies against themselves.
  32. Army of Darkness
    By the time Army of Darkness turns into a retread of "Jason and the Argonauts," featuring an army of fighting skeletons, the film has fallen into a ditch between parody and spectacle.
  33. Booye kafoor, atre yas
    Depression is a fair subject for a movie, but this much moroseness shouldn't come to this little.
  34. Twentynine Palms
    This is one of those films in which the Act of Driving becomes a 10-minute statement of high emptiness; Dumont even manages to make sex in the desert boring.
  35. The Mexican
    It's not the fault of "The Sopranos" charismatic, beefy star (Gandolfini) that he's an actor of such substance and quiet ardor as to make idle movie star ribbitting look frivolous.
  36. A Civil Action
    Starts out well, but it turns into an almost perversely undramatic legal thriller.
  37. Jawbreaker
    A synthetic yet shrill sadomasochistic cartoon.
  38. The Human Stain
    The Human Stain is, contradictorily, drained of color by the spotlight turned on its charismatic leads. Between the labors of simplifying the story for the screen and accommodating the stardust of world-class actors, an essentially, uniquely American tragic hero and heroine are bleached of real American tragedy.
  39. 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.
  40. Radio
    Radio is assembled from small, hard stones of ignorance and intolerance paved over by large, mushy examples of community goodness.
  41. The Big Kahuna
    That The Big Kahuna is hardly more than a sketch or curtain-raiser is not the fault of the play in itself -- it's short-film size, not feature-worthy.
  42. Showgirls
    As Nomi, Elizabeth Berkley has exactly two emotions -- hot and bothered -- but her party-doll blowsiness works for the picture.
  43. The Shape of Things
    What it isn't is a believable relationship. Yet that may scarcely matter to LaBute, a gifted and corrosive wordsmith who appears intent, by now, on shoving all romantic couplings into the meat grinder of his misanthropic design.
  44. Paid in Full
    A fake street drama that keeps telling you things instead of showing them, though Mekhi Phifer, playing a hustler who loves the life, is electric and true.
  45. Sunshine State
    Like a blue plate special at a theme diner, Sunshine State comes with a lot of overdone side dishes thrown on the table at the same time.
  46. Mr 3000
    It's a canned clip reel of Heartwarming Sports Comedy, intermittently redeemed by its easygoing boomer vibe. And at its center is the redoubtable Bernie Mac, nicely aged, as he says, ''like USDA beef.''
  47. Cecil B. DeMented
    Has a few viciously funny moments.
  48. Breakin' All the Rules
    The rules of good screenwriting are mostly broken, though Jamie Foxx's smash-and-grab charisma remains intact.
  49. Illuminata
    The production feels self-congratulatory and illuminated only dimly.
  50. Next Friday
    Starts high, gradually bogs down, then dies.
    • 54 Metascore
    • 58 Critic Score
    Entrapment
    This is one sexy and satisfyingly twisty dance.
  52. 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.
  53. My Best Friend's Wedding
    And when [Roberts is] on screen with Mulroney, who seems a frat-house jerk -- all dimples and a perma-tan -- we don't feel much of anything.
  54. People I Know
    As it is, the story collapses like a bad tip to Liz Smith. Still, there's something brash, retro, and even stupidly touching about all the chatty mania, and the way Baitz and Pacino get off on paranoia, conspiracy theories, and the lure of 1960s idealism.
  55. Panic Room
    Soon enough a pointed ode to New York City nerve-rack and survival skills dissolves into a far more average, less compelling, and sometimes just slapdash-vicious cat-and-mouse game.
  56. Pumpkin
    As PC busting goes, this first feature directed by Tony R. Abrams and scribe Adam Larson Broder shoots at close range, and there's something endearing about the way the filmmakers fire away so eagerly at such fluorescent-colored targets.
  57. Anna and the King
    It's a painstakingly correct update of what is, let's face it, one of the least culturally correct love stories ever to be mythologized by Hollywood.
  58. Ride with the Devil
    Ang Lee's bloody but dramatically anemic depiction of the American Civil War as fought by boys without uniforms.
  59. Incident at Loch Ness
    Incident at Loch Ness, unfortunately, is a riddle wrapped in a hoax stuffed inside a crock.
  60. The Peacemaker
    The essential spark of surprise is missing. The mechanics of ''breathless'' suspense are blanketed by an atmosphere of creeping caution.
  61. The Center of the World
    Too arty by half.
  62. 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.
  63. Runaway Bride
    The difference between "Pretty Woman" and Runaway Bride is that we can no longer buy Roberts in her tearful romantic-melancholy mode. It seems vaguely patronizing now.
  64. 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.
  65. Gigli
    A watchable bad movie, but it's far from your typical cookie-cutter blockbuster. There are no shoot-outs or car chases, and there isn't much romantic suspense, either.
  66. Proof of Life
    When it's dull, which it is too often for a kidnap caper, this movie is about a woman chirping ''notice anything new about my outfit?'' to a man whose idea of style is a jacket not crusted in human blood.
  67. Rain
    As it moves from the drizzly to the overly stormy, Rain freights a young girl's self-destructive eagerness to lose her virginity with so much danger and even horror that it's as if the events were trying to make up for the film's previous lack of drama.
  68. The Bourne Identity
    It has a few whispers of intrigue, but at the heart of The Bourne Identity lies a dispiriting paradox: The more that Jason Bourne learns about himself, the less arresting he seems.
  69. The Family Man
    Schlock weeper.
  70. Drive Me Crazy
    Amusing in its very shallowness.
  71. The Sweetest Thing
    A movie in which laughter and self-exploitation merge into jolly soft-porn ''empowerment.''
  72. How High
    Enough cheery mockery to amuse even non-tokers.
  73. 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.
  74. Valentin
    Agresti fattens us up with the kind of kid's-eye-view tragi-comic adventures that regularly supply empty calories in artificially sweetened foreign-language imports.
  75. The Matrix Revolutions
    Among its better tricks, Matrix Revolutions finally gets the love-story subplot of Neo and Trinity in the right proportion.
  76. A Home at the End of the World
    Most of the movie feels like Farrell's performance: deeply sincere, and more showy than convincing.
  77. White Chicks
    A tawdry excuse for a movie, but it has a handful of shameless giggles.
  78. Zhou Yu de huo che
    The movie follows convoluted narrative tracks. By the end of the drowsy journey, the characters are indistinguishable from the scenery.
    • 45 Metascore
    • 58 Critic Score
    Bobby Jones: Stroke of Genius
    It's pleasing to see Jones triumph, digging his way out of sand traps with miraculous wedge shots, but ''Stroke of Genius'' is proof that when a movie is nothing but inspirational, it can sink and disappear into a field of dreams.
  80. Seed of Chucky
    By far, the most shocking carnage is Tilly carving up her persona. What a doll.
  81. Under the Tuscan Sun
    The author was able to compensate for the book's plotlessness by contemplating other people leading full lives quite as important as hers. In Wells' movie adaptation, even the birth of a friend's baby becomes all about Frances and the play of emotions on Lane's busy, beautiful face.
  82. The Dangerous Lives of Altar Boys
    It's all way too heavy-handed, though nicely acted by Hirsch, Culkin, and, especially, Jena Malone.
  83. 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.
  84. Purple Butterfly
    Too often, Purple Butterfly is as impenetrable as Zhang's placid, obdurate beauty.
  85. Stage Beauty
    A celebration of the theater that tends to drag the moment it's out of drag.
  86. A Knight's Tale
    Laddish, one joke, genre scrambling rock & roll fairy tale.
  87. Enemy at the Gates
    The one valuable prize for audiences in this war pic Cracker Jack box is Jude Law. Once again the talented Mr. Law makes more of a role than most movies know what to do with.
  88. Raising Helen
    Hudson's sunny, ringlet-tossing appeal fits snugly into the film's happy-homemaker ideology: She makes caring for three kids she barely knows look downright glamorous.
  89. Anything But Love
    The frustration of this good-hearted, off-key warble of an indie, written by Rose with Robert Cary, who directed, is that the filmmaking pales when compared with the classic elements of 1950s and early '60s romantic musicals to which it pays homage.
  90. Jackpot
    It's as self consciously arty and fragmented as ''Twin Falls'' was controlled and organically built.
  91. Secondhand Lions
    With no baseline ''truth'' to be found among the cartoony characters and cheesy twists, the whole production feels like a Texas-size load of secondhand lyin'.
  92. Batman & Robin
    Unfortunately, the charming Batfamily can't stay in their cave indefinitely; they've got to go out and fight crime. And that's where this elaborately high-style production from Batman Forever director Joel Schumacher hits an iceberg.
  93. Resident Evil
    A splattery futuristic zombie thriller, designed as a jolt-a-minute freakout for young audiences who were numbed into submission long ago.
    • 36 Metascore
    • 58 Critic Score
    Thunderbirds
    Without fail its upbeat cheesy wholesomeness is always good for a smile.
  95. 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.
  96. Old School
    Under Reitman's deanship, Ferrell lets his freak flag fly and Vaughn unlooses a notably funny, light-on-his-feet lunkheadedness.
  97. The Perfect Storm
    Petersen gives us monumental images of waves and rain and wind, but the editing is so choppy that the images don't build and crest.
  98. Shark Tale
    The noisiest laughs in this watery animated comedy are reserved for those who value self-referential winks above all else.
  99. Super Troopers
    Scattershot, hit-and-often-miss comedy.
  100. Just Married
    Collapses into the most generic sort of teen movie-ville, just at the moment it's convinced you that its lightly appealing stars are capable of better.
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