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 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. Fighting
    Murderously dull stretches of dialogue suck most of the fun out of this sloppy drama.
  2. Little Ashes
    I can't imagine what Dali or Buñuel would have made of such bourgeois sentimentality.
  3. Downloading Nancy
    There are brutal scenes with razor blades and other impromptu devices of erotic torment, but what makes the movie a trial to sit through isn't just the heroine's pain-freak tastes.
  4. Blood: The Last Vampire
    Gory but dramatically inert vampire schlocker.
  5. Shrink
    It wants to be "Good Will Hunting" set in the land of "Entourage," but its bummed-out touchy-feeliness is every bit as concocted as its overly jaded showbiz corruption.
  6. The Other Man
    The Other Man is self-conscious, overproduced, overacted Euro-marital hoo-ha.
  7. Creation
    One of those tepid, genteel biopics that's far too busy ennobling its hero to bother giving him any recklessly interesting personality traits.
  8. Our Family Wedding
    Be prepared to swallow a lot of empty-calorie jokes in which blacks and Latinos insult and misunderstand one another in a spirit of vigorous buffoonery.
  9. Repo Men
    A grisly one-note chase thriller.
  10. Around the Bend
    It's the showy story, script, and even staging that wear a fella out in this relentlessly precious feature debut by writer-director Jordan Roberts.
  11. Analyze That
    It's not just that Tony Soprano is richer, darker, cooler, and scarier. The dude gets more laughs.
  12. The Art of War
    The dialogue is chintzy and rhythmless.
    • 52 Metascore
    • 42 Critic Score
    That's the Way I Like It
    Cute, but there's no movie here -- just a transcultural replication.
  14. The Hard Word
    An Australian crime caper that's one part ''Sexy Beast,'' one part ''The Full Monty,'' and three parts very flat soda.
    • 64 Metascore
    • 42 Reviewed by
      Ty Burr
    The Mystic Masseur
    The novel is a sharp, Dickensian comedy; the film is just plain dull.
  16. The Cup
    Little more than a plodding celebration of global television trumping everything in its midst.
  17. Two Can Play That Game
    Along comes Two Can Play That Game to demonstrate that antifeminist silliness is color-blind.
  18. La Ciénaga
    It sounds churlish to argue that a movie can have too much integrity for its own good, but that's exactly the problem with La Ciénaga.
  19. The Watcher
    Reeves is a stiff dancer and he delivers his lines in a full leather jacket monotone.
    • 23 Metascore
    • 42 Critic Score
    Bats
    The kind of rote schlocker that rarely makes it to big screens anymore.
    • 25 Metascore
    • 42 Critic Score
    The Next Best Thing
    (Madonna is) clearly full of good intentions; too bad she's lacking discernible emotions.
  22. A Room for Romeo Brass
    More and more independent filmmakers seem to be cobbling together characters and scenes that have surface hook and flash without organic emotional logic.
  23. Novocaine
    There are many things wrong with Novocaine, but the film's most gnawing pain is its clodhopper farfetchedness.
  24. 8 ½ Women
    Keeps teasing you with intimations of the libidinous animal within.
  25. The Road to El Dorado
    This trip down The Road to El Dorado proceeds under the speed limit all the way.
  26. Bicentennial Man
    Director Chris Columbus...seals this comedy in an impenetrable bubble of hollow humanism.
  27. Heaven
    Further sad evidence that Tom Tykwer, director of the resonant and sense-spinning ''Run Lola Run,'' has turned out to be a one-trick pony -- a maker of softheaded metaphysical claptrap. It's enough to make you want to see him run again.
  28. Zus & zo
    The title translates, roughly, as ''This & That,'' a confectionary shrug that pretty well sums up the blasé inconsequentiality of it all.
    • 19 Metascore
    • 42 Critic Score
    Virus
    The pathogenic agent to fear, however, is the one that evidently turned every line of dialogue into inane gibberish.
  30. Les amants criminels
    This remains the one and only fusion of ''Deliverance'' and ''Hansel and Gretel'' that I ever hope to see.
  31. The Muse
    An embarrassment--a fairy-tale showbiz satire that seems to defang itself, scene by scene.
  32. Held Up
    In the end, even Foxx is drowned out by the parade of one-note supporting characters.
    • 40 Metascore
    • 42 Critic Score
    Duets
    A leaden piece of whimsy that looks for profound life lessons among a group of karaoke bar aficionados.
  34. Sade
    Achieves the near-impossible: It turns the Marquis de Sade into a dullard.
  35. 20 Dates
    Raging ego aside, the penny-ante hucksterism of his I'm-going-on-dates-to-get-famous-making-a-movie-about-dates approach is too cloying and opportunistic to bear.
  36. Trapped
    The most frightening sight, though, is that of Theron and Bacon, good actors trapped in the muck of making a living.
  37. Lucie Aubrac
    Manages to take great characters and a great plot and leach them of all blood, terror, and excitement.
  38. Till Human Voices Wake Us
    Petroni takes the poem at face value, turning diaphanous literary imagery opaque and literal.
  39. Original Sin
    Aspires to blasphemy but achieves only banality.
  40. Outside Providence
    This unexceptional 1970s coming-of-age story is neither outrageous, new, nor comedic.
    • 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.
  42. The Mod Squad
    Presents undercover law enforcement less as a profession than as an accessory, an excuse to pout and glower chicly, to stand around in nightclubs acting like a sullen version of the Last American Rebel.
  43. Book of Shadows: Blair Witch 2
    A flat, heebie jeebies thriller.
  44. The Messenger: The Story of Joan of Arc
    There's precious little in Luc Besson's solemnly inflated, battle-weary historical epic.
  45. The Shipping News
    A limp and sodden downer.
  46. Boxing Helena
    Soft-core trash with a tent-show hook.
  47. The Opposite of Sex
    Traffics in the coyly blasphemous, aren't-we-dysfunctional family-disaster chic that has become the single most annoying trend in independent filmmaking.
  48. 200 Cigarettes
    A gaggle of hip actors squander their gifts in this unfunny, out-of-control comedy.
  49. I Am Sam
    The dumbing down of low-IQ sentimentality.
  50. Deliver Us from Eva
    Union, who looks so chic and can talk so bitchy-funny, doesn't so much establish a character as roll out a series of attitudes. That's all she's called on to do. That's all anyone is called on to do: Be very tame, and make much ado about zilch.
  51. The Experiment
    Rigid, airless, and browbeatingly repetitive, Das Experiment is an overly didactic piece of thesis hectoring; it's like ''Lord of the Flies'' set in a Skinner box.
  52. Hard Rain
    The film suggests Titanic in a giant wading pool.
  53. All About the Benjamins
    Something puddles to nothing in this relentless Miami sun.
  54. The Visual Bible: The Gospel of John
    Altogether too faithful to its source. The makers of this ponderously middlebrow Canadian production have re-created the Gospel of John in its pristine entirety -- word for word, miracle for miracle.
  55. Inspector Gadget
    The image of this kitchen-magician dream robot comes at us in little jolts and spasms that have the zappy, self-contained rhythm of a fast-food tie-in commercial.
  56. Like Mike
    Like Mike has the synthetically wrapped pseudo-charm of a perfunctory ''Flubber'' sequel.
  57. Kingdom Come
    What slays them in the second balcony, though, flattens on the screen.
  58. 54
    There's a glimmer of what the film might have been, though, in the performance of Mike Myers, who plays Studio co-owner Steve Rubell, with his sweaty thinning hair and look-at-me-I-got-class Lacoste shirts, as a vengeful gargoyle presiding over a kingdom of beauty he can rule but never join.
  59. Here on Earth
    Love means never having to say you're recycling plot material.
  60. The Object of My Affection
    So riddled with cultural stereotypes, woe-is-me neurotic mopiness, and glib therapeutic compassion that by the end all it leaves you with is a waxy buildup of falseness.
  61. Bad Boys
    It's like a series of cliches exploding in your face.
  62. Buddy Boy
    Be wary of any movie in which the hero is monosyllabic and a stutterer at the same time.
  63. Up at the Villa
    Politics is almost an afterthought in this balky, attenuated film.
  64. My Baby's Daddy
    A fairly harmless fertility rite with a skewed if not downright ugly view of women.
  65. Music of the Heart
    A sentimental epic that forgets to include the sentiment
  66. Enigma
    A turgid muddle of romance, espionage, and geek valor, despite intimations that it might have turned into ''A Reasonably Dapper-Looking Mind.''
  67. Committed
    An inert screwball cartoon, a celebration of monogamy as fashion statement.
  68. The Adventures of Rocky & Bullwinkle
    The problem with the movie isn't that it sells out Rocky and Bullwinkle -- it's that it can't keep up with them.
  69. Muriel's Wedding
    The trouble with the movie is that there's nothing to Muriel but her false dreams: We never quite glimpse the woman they're hiding.
  70. Senseless
    Her setups here are so witless and pedestrian that there's no imagination to the crude slapstick punchlines; we're just watching a bland jester pantomime sensory overload.
  71. Duplex
    Runs into construction problems, maybe from too many foremen. DeVito favors pushy slapstick; Stiller prefers hotshot sarcasm. Barrymore's comic talents are wasted; she's there for decoration.
    • 58 Metascore
    • 42 Critic Score
    Stepmom
    Older and younger movie star snipe and glare at each other with little subtlety, and little chemistry either. The two characters appear to be skirmishing only because they're supposed to by convention.
  73. Pokémon 3: The Movie
    Enjoyable only if you're under the age of 7 -- or the influence of psychedelic drugs.
  74. The Newton Boys
    Scored to a disarmingly quaint array of fiddle-and-banjo tunes, The Newton Boys has so little in the way of blood or rancor that before long, you begin to notice that there's no real drama in it, either.
  75. At First Sight
    Here's a romance without a spark of excitement.
  76. Mission to Mars
    In the presence of profound questions, the filmmaker goes profoundly shallow.
  77. 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.
  78. Ghosts of Mars
    Borderline-incoherent.
  79. The Mudge Boy
    It's not the homosexuality that's dubious here, it's the chicken.
  80. Dracula 2000
    One of those desultory F/X and no script potboilers that seems to restart itself with every new scene.
  81. Whatever It Takes
    Populated by ersatz versions of stars who, in this case, are fairly vanilla to begin with.
  82. Suicide Kings
    Just when you thought it was safe to go to the movies without sitting through another imitation of early Quentin Tarantino, along comes Suicide Kings.
  83. Chopper
    A movie overtly designed to win attention (and not to do much else).
  84. Angela's Ashes
    Seems populated yet uninhabited; the only real star is the gloom.
  85. Dead Man on Campus
    As a satire of new-style collegiate types, this MTV production actually evinces a few germs of rancid wit.
  86. About Adam
    Cotton candy story with an acrid aftertaste.
  87. 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.
  88. Angel Eyes
    A cumbersome dud, grows draggier with each new revelation.
  89. Hollywood Ending
    For Woody, it's looking more and more like the end of his days of whine and neurosis.
  90. 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.''
  91. Looney Tunes: Back in Action
    There are flashes of wit -- Speedy Gonzales muttering about political correctness and an arty chase through the Louvre. But there is also random flatulence, a.k.a. the stink of desperation.
  92. Zoolander
    In theory, Zoolander is ''Pret-à-Porter'' on laughing gas. In practice, however, the movie is an ill-fitting suit of gags, too long in the crotch even at 90 minutes.
  93. Anything Else
    With every recycled piece of business -- which is to say, every scene in Anything Else -- the distance widens between Allen and the elusive audience he pessimistically chases. He has never seemed less in touch with his own real, pulsing, 21st-century city.
  94. Wrong Turn
    A blood-simple backwoods spatterfest that makes shameless use of the same old antirural moonshine Hollywood's been bootlegging for decades.
  95. Bulletproof Monk
    As ungainly in its jammed-together East-meets-West-ness as Steven Seagal in a yoga pose.
  96. Simon Birch
    It allows for little of the dark and funny in Irving's picaresque morality fable. No room! Not with the buckets of bathos thrown our way, substituting for mass-market spiritual uplift!
  97. Jeepers Creepers
    Turns into a grab-bag freak show as desperate as it is arbitrary.
  98. My First Mister
    Brooks guards the movie from overheating in a surfeit of warmedy.
  99. Soul Plane
    If you're looking for comic insights beyond the well-documented ass differential between whites and blacks, well, golly, you ought to try another carrier.
  100. The League of Extraordinary Gentlemen
    The movie is based on a 1999 series of comic books by Alan Moore and Kevin O'Neill, but the original tone of deadpan historical audacity has been replaced by a kind of wax-museum literalness.
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