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. Who Is Cletis Tout?
    Allen is no more convincing than the writer-director, Chris Ver Wiel, who strings together faux-QT, faux-Elmore Leonard clichés like so many necklace beads and pretends that's the same thing as making a movie.
  2. Austin Powers in Goldmember
    Mike Myers and Austin Powers may stick to their old Beatle boots, but they've both come a long way, luvvy. For proof, just look at all the A-list celebrities-I-won't-mention happy to crash the party.
  3. Happy Times
    Had O. Henry set his stories in China, he might have come up with Happy Times, a comedy for which the adjective ''bittersweet'' could have been invented.
  4. K-19: The Widowmaker
    What's really needed is a story with some sizzle, but Bigelow, in K-19, can't seem to decide whether she's making a shoot-the-works underwater rouser, like ''U-571'' or ''Crimson Tide,'' or a lofty historical message movie that hits us with the breaking news that the arms race was, in every sense, a poisonous game.
  5. Stuart Little 2
    Very much a kiddie ride, Stuart Little 2 is lively without being hyperactive -- it's a bouncy mouse caper with a wee bit of soul.
  6. Tadpole
    Where ''Rushmore'' surprises and delights with its spiky depiction of sprawling American idiosyncrasy, Tadpole's more urbane, less complicated charms are specifically made in New York City.
  7. Eight Legged Freaks
    Like many of the worst pop-referential parodies of the post-''Scream'' era, this one stalls on laughs once the big joke has been established.
  8. All About Lily Chou-Chou
    Gorgeously shot tableaux of random adolescent brutality are interrupted by flashes of computer garble and chat-room talk, backed by ''Lily's'' music, with its blend of Debussy-like arpeggios and Enya-like sighing.
  9. My Wife Is an Actress
    With every detail in this clever peekaboo, the sly filmmaker dangles the possibility that fiction is fact and that Yvan and Charlotte are real -- or at least as real as the movies.
  10. The Crocodile Hunter: Collision Course
    The mad genius of this cheerily bonkers feature is the integration of a documentary-style safari into an outlandish fiction involving a fancy-pants CIA pursuit of a downed spy satellite, and a shotgun-wielding outback widow.
  11. Tosca
    Conveys the heaving passion of Puccini's famous love-jealousy-murder-suicide fandango with great cinematic innovation.
  12. Sex and Lucia
    A truly titillating and truly convoluted tale of l'amour fou. Perhaps the American remake could be titled ''Hot Fudge Ripple Sky.''
  13. Never Again
    Schaeffer's howler of a romantic comedy, which presents itself as a valentine to Clayburgh even as it keeps dreaming up fresh ways to humiliate her.
  14. Halloween: Resurrection
    Halloween: Resurrection comes closer to comatainment.
  15. Road to Perdition
    There's much that's simplistically grand, worthy, and fine in Perdition. If I yearn for less measured filmmaking that cries out with more reckless despair, it's because I think hell on earth is a meaner, much more interesting, and far less tidy cinematic place than Mendes trusts his audience to handle.
  16. Read My Lips
    Expertly sinister, office-as-devil's-playground French thriller.
  17. Like Mike
    Like Mike has the synthetically wrapped pseudo-charm of a perfunctory ''Flubber'' sequel.
  18. Men in Black II
    Some motion pictures portray ultimate passion; others create ultimate thrills. Men in Black II achieves ultimate insignificance -- it's the sci-fi comedy spectacle as Whiffle-Ball epic.
  19. The Powerpuff Girls
    The three kindergarteners make up for their lack of irony with laser-power eyes, radical post-post-postfeminist blithe confidence, and some of the coolest retro-futuristic animation style this side of Gerald McBoing-Boing.
  20. Lovely & Amazing
    This trio is like a looser, funnier version of the family of wrecks in Woody Allen's ''Interiors.''
  21. The Cockettes
    The Cockettes weren't talented, exactly, yet the bedazzled flakiness of their passion takes you closer than just about any movie has to what was once really meant by the term ''free-spirited.''
  22. The First $20 Million Is Always the Hardest
    It appears to have been modeled on the worst revenge-of-the-nerds clichés the filmmakers could dredge up.
  23. Hey Arnold! The Movie
    The ethical, independent-minded kid has his unhip charms, and so does Hey Arnold! The Movie.
  24. Harvard Man
    A characteristically engorged and sloppy coming-of-age movie from the filmmaker (''Harvard '66'') who, in his body of work, indulges his fantasies as fetishistically as other men finger their cigars.
  25. 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.
  26. Mr. Deeds
    An idiot variation on Frank Capra's ''Mr. Deeds Goes to Town,'' might have been thrown together in even less time than it takes Sandler to get dressed in the morning; it feels sort of like the dumbest corporate comedy of 1987.
  27. Juwanna Mann
    As anyone who has peered in on the actual WNBA for five minutes knows, professional women basketball players are as tough as men. That the film treats this as a joke isn't funny -- it's the height of lame condescension.
  28. Dahmer
    To explain a serial killer is to diminish his madness, but Dahmer does something quietly riveting. It lets you brush up against the humanity of a psycho, without making him any less psycho.
  29. 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.
  30. Lilo & Stitch
    The animation in Lilo & Stitch has an engaging retro-simple vivacity, and it's nice to see a movie for tots make use of Elvis Presley, but the story is witless and oddly defanged.
  31. Minority Report
    The mechanical beauty and android possibilities of the future excite the filmmaker, and that's where Minority Report becomes an alluring postcard from the edge. But it's an edge over which Spielberg never seems to want to step.
  32. The Emperor's New Clothes
    It's a royal, finely modulated double performance by an actor who always wears his powers with graceful modesty.
  33. Windtalkers
    Windtalkers blows this way and that, but there's no mistaking the filmmaker in the tall grass, true to himself.
  34. Gangster No. 1
    A canny, derivative, wildly gruesome portrait of a London sociopath who's the scariest of sadists, in part because he's also a very courtly one.
  35. Scooby-Doo
    The antics involving ghosts, chases, and burping that divert the small fry don't mix with the jokey, tribute-band dialogue spouting from the Mystery, Inc. gang.
  36. 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.
  37. The Dangerous Lives of Altar Boys
    It's all way too heavy-handed, though nicely acted by Hirsch, Culkin, and, especially, Jena Malone.
  38. Bad Company
    Joel Schumacher directs with far less fetishism than he might have, while producer Jerry Bruckheimer kicks up only a fraction of the bull dust usually visible in his projects.
  39. Cherish
    Disoriented but occasionally disarming saga packed with moments out of an ''Alice in Wonderland'' adventure, a stalker thriller, and a condensed season of TV's ''Big Brother.''
  40. Divine Secrets of the Ya-Ya Sisterhood
    The magnolias in Callie Khouri's fried green movie look limp.
  41. Atanarjuat: The Fast Runner
    Stunning, fully formed masterpiece.
  42. Mama Africa
    It understands, in a way that speaks forcefully enough about the mechanisms of poverty to transcend the rather simplistic filmmaking.
  43. The Sum of All Fears
    A world-detonation thriller, at once urgent and lazy, that benefits from its connection to current events and also, by the end, suffers from it.
  44. Undercover Brother
    Lee's images of black and white stereotypes are agreeably silly yet altogether too thin and vanilla safe.
  45. Elling
    Charms because of its natural, non-magical attitude toward humanity.
  46. Bartleby
    It's no insult to Melville to say that he wrote, in effect, the original ''Dilbert.'' This movie, unfortunately, makes ''Dilbert'' look like Melville.
  47. CQ
    Coppola, who has made clever music videos, including the one for Moby's ''Honey,'' clearly had a lot of fun detailing the mod cheesiness of this intergalactic period piece, though the satire would have been more ticklish if ''Austin Powers'' hadn't gotten there first.
    • 74 Metascore
    • 58 Reviewed by
      Ty Burr
    Thirteen Conversations About One Thing
    Judging by the title, though, Sprecher made the movie she wanted to make, and if you're in the right damp-wool mood, you may connect with it too.
  49. Spirit: Stallion of the Cimarron
    An animated fairy tale made with simple, elegant conviction.
  50. Enough
    There's only one place that a movie like this one can possibly be heading, and that's to a demagogic blowout of violent, femme-power payback. Enough gets there by way of far too many tedious detours.
  51. Insomnia
    Superb psychological thriller.
  52. The Importance of Being Earnest
    The antics are wacky -- but far from Wilde.
  53. Late Marriage
    Watch for the director's own mother, Lili Kosashvili, a standout as Zaza's fierce, stately mama.
  54. The Believer
    Bean's commitment to serious theological examination is exciting, Gosling's performance is riveting, and this fiery and imperfect feature shines as a demonstration of independent filmmaking at its most uncompromising.
  55. About a Boy
    Hugh Grant has grown up, holding on to his lightness and witty cynicism but losing the stuttering sherry-club mannerisms that were once his signature. In doing so, he has blossomed into the rare actor who can play a silver-tongued sleaze with a hidden inner decency.
  56. 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.
  57. The Lady and the Duke
    The technique is impressive. But it would count for little if the human story -- of a magnetic, resourceful, and, in the way of all Rohmer heroines, articulate woman who was mistress to the Duke of Orleans -- weren't engrossing on its own dramatic terms.
  58. Unfaithful
    Sensational sex-and-its-consequences melodrama.
  59. 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.
  60. Lagaan: Once Upon a Time in India
    The unlikeliest enthralling movie to be released so far this year.
  61. Home Movie
    Smith profiles five extraordinary American homes, and because the owners seem fully aware of the uses and abuses of fame, it's a pleasure to enjoy their eccentricities.
    • 64 Metascore
    • 42 Reviewed by
      Ty Burr
    The Mystic Masseur
    The novel is a sharp, Dickensian comedy; the film is just plain dull.
  63. Warm Water Under a Red Bridge
    Imamura's delight in the infinite oddity of men and women is goofy; it's also, at heart, reverent.
  64. ABC Africa
    It's not enough for the film to show us a child's corpse wrapped in cardboard; we've got to step back to see Kiarostami himself shooting the sad sight, so that it becomes a Godardian ironic statement.
  65. Hollywood Ending
    For Woody, it's looking more and more like the end of his days of whine and neurosis.
  66. Spider-Man
    A canny franchise escapade; it gets the job done. But it also leaves you hungry for something more, and I don't necessarily mean the next episode.
  67. Sade
    Achieves the near-impossible: It turns the Marquis de Sade into a dullard.
  68. Vulgar
    The only thing shocking about it, however, is the degree to which self-congratulatory gutter exhibitionism has become the degraded ash end of indie ''edge.''
  69. Dogtown and Z-Boys
    A dazzlingly crafted documentary about the teenage surf punks of lower Los Angeles who singlehandedly transformed skateboarding into the extreme sport it has become.
  70. Life or Something Like It
    Mostly about slapping together a bunch of clichés -- outdated clichés at that -- regarding the loneliness of ambitious women.
  71. Jason X
    It will come as no surprise that the movie isn't scary. But here's the real damn: It isn't funny, either.
  72. 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.
  73. The Salton Sea
    A twisty, showy, atmosphere-saturated drama that revels (in a post-post-Tarantino-and-''Trainspotting'' way) in sadism and in-your-face seediness -- and attracts a cast of coolios primed to play extreme.
  74. Some Body
    Will take you places you haven't been, and also places you have.
  75. My Big Fat Greek Wedding
    The wedding, which turns the very concept of ''Greek'' into the sort of hideous, pandering clichés that look rejected from bad Jewish and Italian sitcoms.
  76. Murder by Numbers
    Even though Bullock engages in a climactic scene of blue-screen peril, she essentially cedes the match to the kids. In this mediocre murder case, their presence is the only thing that's really killer.
  77. Enigma
    A turgid muddle of romance, espionage, and geek valor, despite intimations that it might have turned into ''A Reasonably Dapper-Looking Mind.''
  78. 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.
    • 39 Metascore
    • 50 Critic Score
    World Traveler
    Crudup is the best navigator a road movie like World Traveler can have, but even he can't single-handedly transport these goods from nowhere to somewhere.
  80. Nine Queens
    As tricky and satisfying as any of David Mamet's airless cinematic shell games. Mamet's films are all plot and no atmosphere; this one has a squalid, urban-greed-meets-the-gutter mood that lends its filigreed cleverness an unusually resonant kick.
  81. Chelsea Walls
    The ethos of the Chelsea Hotel may shape Hawke's artistic aspirations, but he hasn't yet coordinated his own DV poetry with the Beat he hears in his soul.
  82. The Cat's Meow
    Peter Bogdanovich taps deep into the Hearst mystique, entertainingly reenacting a historic scandal.
  83. Human Nature
    The movie is too cute to take itself too seriously, but it still feels like it was made by some very stoned college students.
  84. Frailty
    Against all odds in heaven and hell, it creeped me out just fine.
    • 38 Metascore
    • 50 Critic Score
    The Other Side of Heaven
    Slick, fact-based, missionary-themed drama.
  86. Changing Lanes
    Teasing drama whose relentless good-deed/bad-deed reversals are just interesting enough to make a sinner like me pray for an even more interesting, less symmetrical, less obviously cross-shaped creation.
  87. New Best Friend
    Dudsville.
  88. The Sweetest Thing
    A movie in which laughter and self-exploitation merge into jolly soft-porn ''empowerment.''
  89. Lucky Break
    Every porridgy inmate in this instantly forgettable romp warbles in the prison's amateur musical, and one of them demonstrates a rather extreme devotion to the tomatoes he grows in the on-site greenhouse.
  90. Les Destinées
    Pictorial but oddly muffled three-hour saga of romance and capitalism, not necessarily in that order.
  91. High Crimes
    This is very much a ''woman's picture,'' driven by a twin rudder of anxiety and empowerment.
  92. Big Trouble
    There are stretches of big fun in Big Trouble, and little pleasures too.
  93. The Komediant
    Reflect the robust status of Yiddish theater in the early 20th century, and its post-Holocaust decline.
  94. Van Wilder
    Studded with Lampoon/John Hughes anachronisms.
  95. Crush
    For women who smoke and drink like fiends, the trio of pre-owned babes in this weirdly rotten femme-porn romance have awfully good, unwrinkled complexions.
  96. The Rookie
    Something particularly clean shines in this American fairy tale, a quality of simplicity that's almost as hard to achieve in such movies as a middle-aged man's boyhood dreams.
  97. The Piano Teacher
    The audience for this grimly disquieting film is, or ought to be, self-selecting.
  98. Time Out
    There's piercing sadness, and fury, too, in this Everyman's isolation, and Cantet is singularly skilled at evoking the universal condition of such tragic ordinariness.
  99. Death to Smoochy
    Tells a moldy-oldie, not-nearly-as-nasty-as-it-thinks-it-is joke. Over and over again.
  100. 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.
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