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. The Matrix
    The real soullessness here is built into the production, a polished adaptation of Hong Kong-style filmmaking that, with its cast of depressive characters, allows for little Hong Kong-style joy.
  2. 2 Fast 2 Furious
    2F2F, under the cut-to-the-chase direction of John Singleton, strips the package known as the Mindless Summer Movie down to its barest components of wheels, skin, and a pulsing soundtrack.
  3. The Beach
    As a book, The Beach offers the option of diving deep. As a movie, it sticks too close to the shoreline.
  4. The New Guy
    A Jekyll-and-Hyde teen comedy that sounds like a Pauly Shore reject, but Qualls moves his marionette body around with a true clown's effervescence, and he does rubber-faced parodies of youth cool that are just what youth cool deserves.
  5. Moonlight Mile
    In ''Ordinary People,'' at least one character -- Mary Tyler Moore's -- had to fall so that the others could survive. In Moonlight Mile, no one gets shut out of the hug cycle.
  6. Midnight in the Garden of Good and Evil
    By the time Midnight in the Garden of Good and Evil is over, it may send more than a few viewers scurrying off to the bookstore. They'll surely want to see what all the fuss was about.
  7. Can't Hardly Wait
    Agreeably mindless generation-next trash, but it leaves you hungry for a movie in which the characters are more than walking screenwriter index cards.
  8. Clueless
    There are funny bits in Amy Heckerling's high school sat-ire, but the characters are teen-movie zombies with no discernible personality apart from their trendoid obsessions.
  9. The Terminal
    I didn't mind The Terminal, but I didn't really buy it, either. Spielberg has crafted the film with a proficiency as seamless, and impersonal, as the setting, and you may feel, after a while, that you're longing for your departure time.
  10. The Grudge
    A horror film that consists of virtually nothing but don't-go-in-the-attic suspense scenes strung together with a reasonable degree of brooding mood and a minimum of logic.
  11. The Forgotten
    A thriller of carefully cultivated murk. It's enigmatic in the worst sense, in that every explanation for what's going on holds less water than the last.
  12. 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.
  13. The Day After Tomorrow
    A decent disaster pic comes down to the handful of colorful individuals who will live (or, depending on the prominence of their billing, die), as it has since the days of chewy disaster meatballs like ''The Towering Inferno'' and ''Earthquake.'' And the heaviest lifting in Emmerich's production falls to Dennis Quaid and Jake Gyllenhaal.
  14. Home on the Range
    The conservatively cheery artistic style suggests that the animation team has been reading Sundance merchandise catalogs.
  15. Mousehunt
    The charms of Evans (from 1995's oddball Funny Bones) and Lane (who's at his best playing to the balcony) are lost in all the detailed hubbub.
  16. The Polar Express
    The screenplay, by Zemeckis and William Broyles Jr., plumps Van Allsburg's simple fable about the purity of childhood faith in what can't be seen with all sorts of wholly invented characters, complications, and declarations.
  17. Anchorman: The Legend of Ron Burgundy
    The movie is funny when it's nasty, as when Ron and Veronica trade insults at the anchor desk. Most of the time, though, it's not nasty enough.
  18. Paparazzi
    It doesn't take long for the film to devolve into a ludicrously far-fetched Celebrity Death Wish.
  19. The Motorcycle Diaries
    Glazed over by its worship of Che Guevara.
  20. The Phantom of the Opera
    The result isn't liberated from the stage; it's trapped, with waxworks literalness, onscreen.
  21. Lemony Snicket's A Series of Unfortunate Events
    Isn't nearly as cheerily unpleasant as it ought to be.
  22. 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.
  23. Hotel Rwanda
    A strange history lesson that leaves us more overlectured than properly overwhelmed.
  24. The Mask
    The Mask, a rattletrap Jekyll-and-Hyde farce, surrounds Carrey with a nothing plot and a cast of ciphers. Still, his scenes as the Mask are rowdy and enjoyable.
  25. Beautiful Girls
    Directed, with overfondness for the goofy ways of guys, by Ted Demme and written, with overfondness for the sound of guys pontificating about nothing, by Scott Rosenberg.
    • 55 Metascore
    • 58 Reviewed by
      Ty Burr
    The Relic
    If you can stagger around the plot holes (how'd a Brazilian cargo ship with a dead crew get to Lake Michigan?), the last 30 minutes are pure, dumb monster-movie fun.
    • 86 Metascore
    • 58 Critic Score
    Bonnie and Clyde
    Penn's film oozes an intellectual's fashionable contempt for the characters.
  28. Clear and Present Danger
    As a thriller, this 21 2-hour production takes a slow route between short bursts of excitement.
  29. Booty Call
    There are moments of lewd hilarity, like a game of footsie that turns genderifically confused. But Booty Call loses its dirty-minded, how-low-will-they-go-to-get-laid edge when the boys venture out into the New York night to buy condoms.
  30. Dante's Peak
    It hardly helps, of course, to have no characters to root for. What is it about Pierce Brosnan? He's got dimples, grace, charm; he's not a movie star, exactly -- he looks as if he should be hosting something.
  31. Paradise Road
    Beresford, who'd like to teach the world to sing, makes the moment as moving as a Coca-Cola jingle. It's not the real thing, but it's effective.
  32. Prefontaine
    But in this standard athlete-dies-young presentation, we never do catch the magic that made Steve Prefontaine a towering figure. Instead, this Pre is a shaggy-haired, sentimental favorite -- a teen angel rather than an Olympian.
  33. Die Hard: With a Vengeance
    In Die Hard With a Vengeance, McTiernan stages individual sequences with great finesse (there's a terrific bit with Willis and five thugs in an elevator), yet they don't add up to a taut, dread-ridden whole.
  34. GoldenEye
    Still, just about everything in Goldeneye, from its rote nuclear-weapon-in-space plot to the recitation of lines that sound like they're being read off stone tablets (''Shaken, not stirred!''), has been served up with a thirdhand generic competence that's more wearying than it is exhilarating.
  35. Jumanji
    Jumanji is cardboard Spielberg, a B-movie scrap heap of spare parts lifted from "Jurassic Park" and "Gremlins" and "Back to the Future".
  36. The First Wives Club
    The First Wives Club has all the conviction a comedy of female vengeance needs. But as soon as the dumb plot takes over, the wit leaks out of the movie like helium from a balloon.
  37. Mortal Kombat
    And although director Paul Anderson treats the story with appropriate deadpan respect, there are enough sparks of humor (particularly generated by Linden Ashby as a shallow martial-arts actor who worries that he's a fake, with good reason) to amuse the adults accompanying the 10-year-old boys in the audience.
  38. Romeo + Juliet
    Romeo & Juliet is a series of spectacular production designs posing as a motion picture.
  39. Mrs. Parker and the Vicious Circle
    For a while, the atmosphere seems just right. As Mrs. Parker goes on, it becomes apparent that the one-liners, droll as some of them are, aren't really going to coalesce into characters, scenes, dramatic encounters.
  40. Unstrung Heroes
    Trying for a dark-toned comedy of familial mishap, Keaton dips into the sentimental fraudulence.
  41. It Takes Two
    It seems only fitting that the flavorless Guttenberg would land in this smooth tapioca concoction, but Alley deserves better.
  42. Lethal Weapon 3
    The movie zips around without any true forward momentum. The stars carry you along, though.
  43. Quick Change
    Quick Change starts out fast and loose — it gets the audience primed for a ripsnorting caper comedy. Yet almost nothing that follows is as clever, as surprising, or as casually anarchic as that nifty opening sequence. Murray himself served as codirector, and though he doesn't do anything terribly wrong, the movie lacks comic zest.
  44. Telling Lies in America
    Kevin Bacon's passionate, sharply drawn portrayal of Billy Magic, a slick, finger-snapping, payola-pocketing disc jockey in early 1960s Cleveland, is the best thing about this conventional but heartfelt semiautobiographical coming-of-age story
  45. Eat Pray Love
    If only Roberts' warmth, coupled with Javier Bardem's scruffy sexiness as Felipe, were enough to compensate for the folded-map flatness of this production.
  46. Knight and Day
    In this oddly uninvolving caper, the size of skulls makes its own statement: The producers assume that audience interest in movie stars is bigger than audience interest in characters.
  47. Survival of the Dead
    There are some memorable images, including the sight of a beautiful, horse-riding ''dead head.'' But for much of the movie, Van Sprang's zombie fatigue seems to be an echo of Romero's own.
  48. The Joneses
    This cautionary tale might be easier to swallow if all that stuff didn't look like it came from a Sky Mall catalog.
  49. The Losers
    Basically, it's "The A-Team" meets "Rambo" meets "Mission: Impossible," with a mission that's one part trickiness, four parts blowing stuff up.
    • 46 Metascore
    • 58 Critic Score
    Flavors
    Earnest and intermittently diverting, this cheerful little movie isn't the sort of thing you see every day.
  51. 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.
  52. Peaceful Warrior
    In the ranks of improbable gymnastics coaches, Nick Nolte falls just below the cartoon version of Mr. T.
  53. House of Sand
    The House of Sand's director, Andrucha Waddington, lays on the Awesome Visual Poetry and throws in a welter of story gimmicks, but it's all a bit too fancifully arid.
    • 39 Metascore
    • 58 Critic Score
    Arthur and the Invisibles
    "The Professional's" Luc Besson has made a fair share of artfully bad movies. Arthur and the Invisibles -- half-live-action, half-CG kid's adventure -- is (by a hair) more bad-bad, like "The Fifth Element," than good-bad, like "The Big Blue."
  55. Provoked: A True Story
    Based on a true story, this Indian variation on a theme of "The Burning Bed" emphasizes the psychological freedom the inmate finds behind bars.
  56. How About You ...
    As the reigning inhabitant, Redgrave adopts the swanning gestures of Maggie Smith in this mild adaptation of a Maeve Binchy story.
  57. Lymelife
    Overworked if heartfelt indie.
  58. Mesrine: Killer Instinct
    The events may be accurate, but Mesrine is so episodic that it's slightly maddening to watch.
  59. Daddy Longlegs
    A disconcertingly jumpy tale of breathtakingly crummy parenting, the windblown movie dares a tolerant audience not to call Child Services.
  60. City Island
    Andy Garcia reminds you of what a cunning, likable actor he can be.
  61. Breaking Upwards
    Fitfully amusing, mostly annoying rom-com.
  62. La mission
    The warmth comes through, even if the storytelling is simplistic and clichéd.
  63. Letters to God
    A bland, pious yet touching faith-based tearjerker.
  64. The City of Your Final Destination
    Lovely to look at -- and languid to the point of stultifying torpor, as interesting characters make speeches to one another about life, love, and literature.
  65. Harry Brown
    Part punk-drab British art-house portrait of underclass despair, part bloody vigilante pic, Harry Brown is shakily held together by industrial-strength sound design and the expertly employed theatrics of Michael Caine in the title role.
  66. Iron Man 2
    Downey's head and heart are in the right place, but the movie is more in pieces than whole, and more about iron than about men.
  67. Mother and Child
    The hothouse drama Mother and Child is organized like a femme-friendly spa that specializes in treatments for the psyche rather than the skin. Soft New Agey music tinkles intrusively. Sore spots are prodded and massaged. Clients pass one another in the changing room. The ritual is exquisite to some, and excruciating to others.
  68. Wall Street: Money Never Sleeps
    A lot of Money Never Sleeps - too much - is about Gekko père's desire to reconnect with his very angry daughter.
    • 69 Metascore
    • 58 Critic Score
    Never Let Me Go
    It's a very tony fantasy of class oppression and fascist medical exploitation (themes that may speak louder in England), but it's a lyrically inert movie.
  70. I Am Love
    The film is almost deliriously stylish, which helps mask the silliness. But the bellowing music, by John Adams, is infuriatingly intrusive -- which undoes the visual good.
  71. Halloween II (2009)
    What Halloween II does have, though, is Zombie’s claustrophobic visual style; he half-drowns his actors in shadow, then tracks them through windows and around corners like a focused predator. If only we cared about the prey.
  72. Middle Men
    This cranked-up drama wants it both ways.
  73. The Wildest Dream
    The voices of Liam Neeson -- as the film's narrator -- and his late wife, Richardson, inevitably add to the project's poignance.
  74. Tales from Earthsea
    He does an okay imitation of his father's languidly matter-of-fact dreamscapes, but it's hard to deny that a certain vitality is missing in Tales From Earthsea.
  75. RED
    Unfortunately, while RED's stars may have gotten better with age, its many clichés have not.
  76. Devil
    A pocket-size supernatural thriller that plays a bit like Agatha Christie's "Ten Little Indians" retold by an unstable Sunday School teacher.
  77. You Will Meet a Tall Dark Stranger
    The best scenes are hilarious sessions between the great Gemma Jones and the wonderful Pauline Collins as a charlatan fortune-teller.
  78. Welcome to the Rileys
    Rileys has been casually dubbed "Kristen Stewart's stripper movie," but the handle doesn't stick: Stewart may wear skimpy clothes and grind once or twice from the neck down, but from the neck up she's all hollow, bruised eyes, twisted little mouth, and classic, coltish K-Stew rebellion.
  79. Catfish
    In Catfish, the camera's-rolling readiness to trawl for drama leaves a slimy aftertaste.
  80. Freakonomics
    As a movie, Freakonomics is like Jujubes for the brain - it starts to get cloying halfway through the box.
  81. Skyline
    Basically a nifty VFX reel in search of a plot.
  82. Love and Other Drugs
    An old-fashioned romance-and-sickness picture, a publicity-grabbing sex picture, an Apatow-lite horny-boys picture, and a liberal satire on pharmaceutical-industry excesses committed in pursuit of pill sales - all in one.
  83. Casino Jack
    Tonally scattershot and more than a little heavy-footed.
  84. How Do You Know
    How Do You Know asks really good questions but doesn't so much answer them as toss the ball from player to player until the clock runs out.
  85. Country Strong
    The film keeps throwing things at you: drunk scenes, adultery scenes, "All About Eve" rise-of-the-young-rival scenes. Yet despite the presence of some appealing actors, none of it quite adds up.
  86. The Dilemma
    The dilemma of The Dilemma is that the conundrum at the center of the story isn't particularly hilarious.
  87. Unknown
    The movie whips up a big old puree of ingredients borrowed from other cinematic recipes.
  88. Frankie & Alice
    It's just a matter of time, flashbacks, many costume and accent changes, some more jazz, and a triggering tune on the radio before the truth can set Frankie, and the audience, free.
  89. The Time That Remains
    At best, his poker-faced vignettes nail the icy comedy of war: A man chats on his cell phone, unworried about a tank targeting him a few feet away. At worst, they're totally opaque and unmoving.
  90. Every Day
    It's hard to empathize with the family in the indie drama Every Day when each member is so sitcom-ready.
  91. Dhobi Ghat (Mumbai Diaries)
    This shot-on-film-and-video trifle reveals a Bombay (that's what all the characters call it) that "Slumdog Millionaire" didn't: a delicate metropolis sunk in torpor.
  92. No Strings Attached
    Adam is cute and all, but the real strings worth tying are those that bind this sisterhood of sharp, interesting, sexually active women together. Where's THEIR starring movie?
  93. Water for Elephants
    Something is wrong under this big tent. Actually made to resemble a good old-fashioned, crowd-pleasing movie, this cinematic Water for Elephants droops and lumbers like Rosie the elephant herself.
  94. Arthur
    The new Arthur is a feathery screwball satire, competent on its own terms, yet as the movie went on I found it increasingly hard to separate the character's self-indulgence from that of the actor playing him.
  95. Your Highness
    Natalie Portman, by the way, is fierce and funny as a babe warrior the brothers meet along the way. She's good with dirty words, too.
  96. Cold Weather
    Cold Weather becomes the world's first mumblecore "thriller" - a good idea for a movie that someone, in the future, should execute a bit less lackadaisically.
  97. Cowboys & Aliens
    Cowboys & Aliens has fun moments, but it's a plodding entertainment because it mostly tastes like leftovers.
  98. Green Lantern
    Reynolds makes Hal a perfectly functional comic-book hero, but there's a big difference between functional and super.
  99. Larry Crowne
    It's easy enough to accept the romantic-comedy luck of the two finding each another. It's much tougher, and ultimately useless, to buy everything else about this fairy tale of self-reinvention in a stalled economy.
  100. Monte Carlo
    Undoubtedly a trifle, but it's still kind of nice for a summer movie to try charming us instead of just bludgeoning us into submission.
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