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. No Such Thing
    Hartley is trapped between sincerity and mock sincerity, and that all but dooms a filmmaker to slipping through the cracks.
  2. Clockstoppers
    Stops time, all right -- it stretches 94 minutes into something that begins to feel like infinity.
  3. Sorority Boys
    There are moments of real funniness in this smarter-than-anticipated goof-fest.
  4. Son of the Bride
    Has an appealing modesty, but director Juan José Campanella works so hard to keep everything soft and winsome and charming that he cushions the understatement into blandness.
  5. Jim Brown: All American
    From what we can tell, Brown was a dancer, all right, in life as well as on the field -- a dancer with a powerful forearm, one that Lee covers in protective padding.
  6. Blade II
    Del Toro lays on the operatic head-trip gore, but his heavy-handed embrace of the ''Blade'' mythology allows Wesley Snipes to give more of a performance than he did in the first film.
  7. Harrison's Flowers
    A chintzy melodrama gussied up as hair-trigger combat ''reality,'' but there's no denying the vividness with which the French cowriter-director Elie Chouraqui has visualized the chaos of Croatia.
  8. Showtime
    De Niro seems to be reacting to nothing so much as the lame movie he's stuck in.
  9. Y Tu Mamá También
    Sad, funny, sexy, and altogether marvelous.
  10. Promises
    Superb, Oscar-nominated documentary.
  11. Resident Evil
    A splattery futuristic zombie thriller, designed as a jolt-a-minute freakout for young audiences who were numbed into submission long ago.
  12. Ice Age
    Ice Age never matches the brilliance of ''Toy Story'' or the heartfelt heft of ''Shrek,'' but it's an antic and sweet-spirited pleasure.
  13. All About the Benjamins
    Something puddles to nothing in this relentless Miami sun.
  14. The Time Machine
    Deliberately quaint and old-fashioned, a once-over-slightly exercise in nostalgic wonder directed by the British-born great-grandson of H.G. Wells, who treats the spirit of his ancestor's novel with literal-minded fealty.
  15. Stolen Summer
    The entertainment gods have cast mixed blessings on Stolen Summer. Let Pete Jones pray.
  16. Borstal Boy
    A quaint, romanticized rendering.
  17. We Were Soldiers
    The writer-director bestows honor -- generously, apolitically -- not only on the dead and still living American veterans who fought in Ia Drang, but also on their families, on their Vietnamese adversaries, and on the families of their adversaries too.
  18. 40 Days and 40 Nights
    A kinder, gentler teensploitation comedy, but Hartnett's Matt, at least, invites the audience to graduate to something better.
  19. How to Kill Your Neighbor's Dog
    Branagh shows us the comedy of a man who is too clever to understand that in the guise of dreading fatherhood, he is really at war with how much he longs for it.
  20. Big Bad Love
    Howard luxuriates in writerly misery as Barlow, and the participation of the filmmaker's real-life wife, Debra Winger, as Barlow's ex gives the scenes between the two of them an unfakeable erotic charge.
  21. Mean Machine
    After too many ''Full Monty''s, it has come to look like nothing so much as a coy ritual of emasculation.
  22. Monsoon Wedding
    The old-world-meets-new mesh is incarnated in the movie's soundtrack, a joyful effusion of disco Bollywood that, by the end of Monsoon Wedding, sent my spirit soaring out of the theater.
  23. Dragonfly
    Preposterous-for-no-good-reason supernatural tale.
  24. Queen of the Damned
    Maybe in a few years the incoherent gaudiness of this underperforming sequel to ''Interview With A Vampire'' -- will have transmuted into a kind of appreciable camp. Until that time, however, we're stuck with this damned production
  25. Return to Never Land
    There's always something to look at (an octopus holding his eyeballs aloft, the petulant Jane assaulted by pixie dust), but the story is weak tea.
  26. Wendigo
    If you think it all adds up to a bald-faced rip off of ''The Shining,'' you'd be right, with a crucial difference: Wendigo trades the puffed-up metaphysics of middle-class murder for the no-budget spectacle of...an incredibly fake-looking monster deer.
  27. Hart's War
    It may seem harmless, to some, that our movies have never entirely abandoned the land of Poitier-ville, but as Hart's War demonstrates, it's an insult that they haven't.
  28. Crossroads
    Not only makes excellent use of the singer's sweetly coltish acting abilities, but it also promotes a standardized set of sturdy values with none of Mariah Carey's desperate ''Glitter,'' or any of Mandy Moore's gummy pap in ''A Walk to Remember.''
  29. Super Troopers
    Scattershot, hit-and-often-miss comedy.
  30. John Q
    The movie could have used a brain transplant. It doesn't explore injustice -- it just exploits it.
  31. Scotland, Pa.
    Funny? Yes, but in its slapdash way, it sounds nuttier than it plays.
    • 14 Metascore
    • 42 Critic Score
    Rollerball
    Rollerball was trash even back in 1975, but in some small way it was ahead of its time. The new version just makes you feel like you've been watching a lame late-night rerun while stuck in a thunderdome.
  33. Big Fat Liar
    How appealing is Muniz, taking a break from ''Malcolm in the Middle,'' a day job he should by no means let go of?
  34. Collateral Damage
    The result is an ''action film'' mired in stasis. The ending piles on the potboiler mayhem, but it's telling that Schwarzenegger's climactic catchphrase is down to one measly word. This time, he's the luggage.
    • 51 Metascore
    • 67 Critic Score
    Birthday Girl
    If British writer-director Jez Butterworth had let his sophomore picture get as dirty as Kidman's game recklessness invited -- she started this before ''Moulin Rouge'' and ''The Others'' -- he would have served up a tasty piece of cake.
  36. A Rumor of Angels
    Director Peter O'Fallon fires his biggest gun: a blast of Mozart's Ave Verum Corpus, truly heavenly music wasted on a handful of dust.
  37. Slackers
    The movie doesn't so much extend Schwartzman's antic outsider persona from ''Rushmore'' as uglify it, reducing him to the ultimate Uncool Anti-WASP.
  38. Domestic Violence
    Wiseman reveals the victims of domestic abuse in all of their pity and terror.
  39. The Son's Room
    It takes skill these days, if not nerve, to put a vital, happy nuclear family on screen and to invite us to share in every quiet tremor, every gentle jostle and smile of their steady, deep-flowing contentment.
  40. The Mothman Prophecies
    It's made with deftly unsettling genre flair.
  41. The Count of Monte Cristo
    The best thing in The Count of Monte Cristo is Guy Pearce's snot-nosed hauteur. He gives this scoundrel some wounded edges, and frills as well.
  42. A Walk to Remember
    Just because A Walk to Remember is shrewd enough to activate girlish tear ducts doesn't mean it's good enough for our girls. They're willing to buy tickets; why not honor their wits as well as their wallets?
  43. Kung Pow: Enter the Fist
    Processed comedy chop suey.
  44. Italian for Beginners
    To see this much austere vérité atmosphere propping up this much schlock romanticism is like biting into a blue-cheese canapé that turns out to be a fluffernutter.
  45. Snow Dogs
    As distressed as a comedy can be without qualifying as a snow emergency.
    • 57 Metascore
    • 67 Reviewed by
      Ty Burr
    Brotherhood of the Wolf
    This is one of those follies that go beyond pesky, bourgeois notions of ''good'' and ''bad.''
  47. Orange County
    Arriving amid the traditionally withered harvest of January releases, Orange County is peachy.
  48. What Time Is It Over There?
    Tsai builds this shimmering story with deft, deadpan wit and a warm, understated love of the absurd, both in life and afterlife.
  49. Impostor
    The entire movie has the meaninglessly burnished, sunglasses-at-midnight glow of an early-'90s car commercial -- a visual scheme guaranteed to leave the audience squinting between yawns.
  50. Charlotte Gray
    A frustratingly inert story, a bookend to last year's wooden ''Captain Corelli's Mandolin.''
  51. I Am Sam
    The dumbing down of low-IQ sentimentality.
  52. Dark Blue World
    The aerial-dogfight scenes, which are beautiful and shot through with jittery panic, are notable for not being staged for videogame kicks.
  53. Black Hawk Down
    Even an audience moved to tender patriotism might wonder how Scott, a proven master of ''Gladiator''-size visual showmanship, could have bombed away the personality of every man fighting until he's left with nothing more than pure combat.
  54. Gosford Park
    The movie might almost be winking at the fact that any single one of these performers could easily be the featured star of his or her own upper-crust period piece.
  55. Monster's Ball
    A traffic map of calls and responses, lessons and homework, wishes and fulfillment. All roads lead to acting-award nominations, but none lead to truth.
  56. The Shipping News
    A limp and sodden downer.
  57. Ali
    For everything it gets right, Ali, following its superb first hour, begins to lose the vision, clarity, and structure necessary to bring its hero into full focus.
  58. The Majestic
    Maybe this well-loved Luke is who his neighbors want him to be, a good fellow who, with his father, reopens the old movie house in town -- the Majestic -- thus allowing his neighbors to dream in the dark again.
  59. Kate & Leopold
    It's no myth: All play and no work makes Jackman, as Leopold, a doll of a boyfriend.
  60. A Beautiful Mind
    Crowe sometimes summons up one of the most powerful depictions of mental illness I have ever seen with barely an eyelid flicker separating manifestations of sickness from utterly sane displays of creative concentration.
  61. A Song for Martin
    The movie, for all its sincerity, becomes clinical and repetitious, though its unsparing vision of the fragility of identity can give you a shudder.
  62. How High
    Enough cheery mockery to amuse even non-tokers.
  63. Jimmy Neutron: Boy Genius
    A lickety-split, madly packed, roller-coaster entertainment that might almost have been designed to make you scared of how much smarter your kids are than you.
  64. Joe Somebody
    It turns out that Joe ends up liking the old Joe better too. Who just so happens to be the kind of average-Joe character that continues to make Allen such a tidy, non-Joe bundle.
  65. The Lord of the Rings: The Fellowship of the Ring
    Vibrantly, intricately alive on its own terms. This is what magic the movies can conjure with an inspired fellowship in charge, and unlimited pots of gold.
  66. Kandahar
    With its lyrical vision of oppression, looks, if anything, milder now than it might have before the war.
  67. Iris
    The movie's most artful feature is the fluidity with which the past slides into the present, echoing Murdoch's own unmoored sentience, so that the younger self, played with dash and vigor by Kate Winslet, turns into the old woman lost in her own home.
  68. Not Another Teen Movie
    A big, fat, juicy spitball lobbed, with mostly dead-on aim, at the teen-smarm clichés that have accumulated like so much earwax over the last three years.
  69. Vanilla Sky
    If Crowe's eyes are open, he seems to have directed most of Vanilla Sky with his mind wide shut.
  70. Baran
    There are moments in Baran as wholesomely heart-tugging as any involving Charlie Chaplin and a blind girl, but the film is saved from aren't-kids-cute sentimentality by a warmth that isn't faked and a stately sense of composition.
  71. Final
    Did Scott, too, get hooked by the 1998 Spanish film ''Open Your Eyes?'' Intentionally or not, he has made ''Overcast Vanilla Sky.''
  72. Last Orders
    The storytelling may be ordinary, but the cast is one of those all-star reunions.
  73. The Business of Strangers
    None of this detracts, however, from the terrific piss-and-merlot performances of Channing and Stiles, or from the committed participation of Frederick Weller as a Neil LaBute-era businessman caught in the lounge between two she-devils disguised as businesswomen.
  74. No Man's Land
    It's a merciless and mirthlessly funny antiwar weapon from a filmmaker who has seen battle firsthand and has lived to make art from memories of hell.
  75. Ocean's Eleven
    It's a scrumptious and dizzy-spirited lark, a what-the-hell-let's-rob-the-casino flick made with so much wit and brains and dazzle and virtuosity that the sheer speed and cleverness of the caper hits you like a shot of pure oxygen.
  76. Texas Rangers
    What's going on is: hunks on horsies.
  77. The Affair of the Necklace
    Slipshod rather than sly. There's no fury to the movie, repressed or otherwise, which may be why when the Revolution arrives, it has all the impact of a guillotine with a deadly dull blade.
  78. Behind Enemy Lines
    We, the people, are meant to cheer in response, but the spirit isn't willing. War is hell, but so is peace -- at least when it comes to movies in a no-man's-land like this one.
  79. Trouble Every Day
    A demented, orgiastically gory vampire/sex parable.
  80. In the Bedroom
    The uncoagulated anguish of parents mourning the death of a child has rarely been more powerfully depicted than in the collected vignettes of grief, rage, and retribution that make up the riveting domestic drama In the Bedroom.
  81. Black Knight
    Lawrence, as always, exerts the appeal of a con man too lightweight to buy into his own con. He'd be funnier, though, if he didn't insist on being the only funny thing in the room.
  82. Sidewalks of New York
    It's a veritable Greek chorus of wry therapeutic chatter, the touchy-feely pensées skittering over the stock dualities of adultery and fidelity, lust and devotion, narcissism and intimacy, blah, blah, blah.
  83. The Devil's Backbone
    Del Toro builds excitement, dread, and melodrama in equal layers.
  84. Spy Game
    The film is brimming with plots, counterplots, dossiers, and sinister corrupt priorities, all held together by the telephoto obsidian gloss of Scott's look-ma-no-pauses style.
  85. Out Cold
    About as arousing as an icy shower.
  86. Porn Star: The Legend of Ron Jeremy
    In the scurrilously enjoyable documentary Porn Star: The Legend of Ron Jeremy, we get to know the man whom Al Goldstein dubbed ''the hedgehog of porn."
  87. Novocaine
    There are many things wrong with Novocaine, but the film's most gnawing pain is its clodhopper farfetchedness.
  88. Harry Potter and the Sorcerer's Stone
    That sense of déjà vu is at once this Harry Potter's balm and its limitation: many charms, but few surprises.
  89. The Wash
    This rusty jalopy of a movie, which is so ramshackle it's nearly enough to make you forget how tossed-together the 1976 ''Car Wash'' was.
  90. Heist
    If it's not up to the cups-and-balls elegance of previous Mamet movies like ''The Spanish Prisoner'' and ''House of Games,'' if it piles on more psychological fake-outs than is safe in a setup this size -- well, at least it's got that talk, that language, that thing Mamet does that is at this point as identifiable as the cadences of the Bard.
  91. Shallow Hal
    Something is happening to our boys: They're getting mushy. Shallow Hal is not so much about how gross people are as how beautiful they are once you get beyond the rude, noisy flesh. It's a sermon wrapped in a fat suit.
  92. Happenstance
    In Happenstance, fortune doesn't just smile -- it schemes and tricks and zigzags, forming an urban road map of fate's detours.
  93. Tape
    Linklater has hardly been a slacker this year. I'll take the tricky confrontational babble of Tape over some of the gauzier soliloquies in ''Waking Life,'' but either way, he's a filmmaker in love with the music of talk, and let's bless him for that.
  94. Domestic Disturbance
    Every signifier in this quintessentially American domestic thriller is in satisfying running order.
  95. Everything Put Together
    The movie is ''Rosemary's Suburban Baby'' without a witch in sight.
  96. Monsters, Inc.
    Monsters, Inc. has got that swing, that zippity, multilevel awareness of kids'-eye sensibilities and adult-pitched humor.
  97. Amélie
    The charming movie, already an international success, seduces.
  98. The One
    It's hardly much of a thrill to see The One recycle, on a lower budget, the slo-mo bullet dodges from "The Matrix," along with unspectacular variations on several other of that film's time-bending demolition-ballet effects.
  99. The Man Who Wasn't There
    Isn't content to stick to the genre conventions it sets up. Instead, it sprawls and mutates into one of the Coens' elaborate gizmoid yarns.
  100. The Town Is Quiet
    It doesn't quite wash. Guédiguian has a telling instinct for the buried shame of working-class squalor, but his film is inflated with a doom that feels programmatic rather than earned.
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