Entertainment Weekly's Scores

Select another publication »
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
view
per page
    • 35 Metascore
    • 42 Reviewed by
      Ty Burr
    Urban Legend
    Proficiently filmed and utterly uninspired.
    • 46 Metascore
    • 42 Critic Score
    Ravenous
    Oddball period tale of cannibalistic shenanigans.
  3. How Stella Got Her Groove Back
    Bassett's natural dramatic fierceness, so powerful when incited to action, is at odds with the knee-weakening sexual surrender required by the story.
  4. Hope Floats
    The pond is so shallow in this wan romance that there's no room for anything to float.
  5. 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.
  6. Mean Machine
    After too many ''Full Monty''s, it has come to look like nothing so much as a coy ritual of emasculation.
  7. Fools Rush In
    The result is a stilted culture clash and a lot of monochromatically conflicted facial expressions from Perry before he's thawed by the love of an ethnic woman.
  8. 8MM
    The whole movie turns into a violent, pointless, torture-or-be-tortured chase.
  9. Love Me If You Dare
    The award for the most annoying character to appear in a movie so far this year turns out to be a tie: It goes to both of the oh-so-swankly tormented romantic mischief makers of Love Me if You Dare.
  10. Hulk
    A comic-book superhero has seldom squandered so much screen time being conflicted about his heritage and destiny -- and I don't mean conflicted in a sexy, Wolverine-y, ''X-Men'' way, either; a big-budget comic-book adaptation has rarely felt so humorless and intellectually defensive about its own pulpy roots.
  11. First Daughter
    The role of a poised daddy's girl is a dull one for Holmes, who looks pained, in a nonspecific way, throughout her capers; the movie itself, with a screenplay by Jessica Bendinger and Kate Kondell, is a dull one for director Forest Whitaker.
    • 48 Metascore
    • 42 Reviewed by
      Ty Burr
    Orgazmo
    Dian Bachar, as Joe's pint-size sidekick, sounds the only note of sly wit; the unidentified stripper playing T-Rex delivers the only real shock value. The movie could have used a lot more of both.
  13. Scooby Doo 2: Monsters Unleashed
    There's nothing overtly better or worse about this sequel. But the ''kids'' look to be pushing 30 now -- an awkward age for theme-park performers.
  14. A Slipping-Down Life
    Taylor does that thing she does when she whispers as if she has just discovered speech; Pearce enjoys himself doing his own singing, and embracing grunge.
  15. Daredevil
    Daredevil is the sort of half-assed, visually lackadaisical potboiler that makes you rue the day that comic-book franchises ever took over Hollywood.
    • 41 Metascore
    • 42 Critic Score
    Mallrats
    A hopelessly stupid movie that should appeal to baked couch potatoes everywhere.
  17. A Night at the Roxbury
    The lame-o aspects of the whole campy setup are still lame-o.
  18. 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.
  19. Father and Son
    Sokurov's new companion piece (to "Mother and Son"), has the tedium without the trance.
  20. 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.
  21. Pokémon: The Movie 2000
    Any grown men and women who pay to see the movie face a harrowing ordeal.
  22. Training Day
    There's no denying that Washington can play a rococo villain with flip ebullience, but I fervently wish he were doing it in a movie that paid more than lip service to the real world.
    • 30 Metascore
    • 42 Critic Score
    Thirteen Ghosts
    The result is a Halloween movie in horror limbo.
    • 33 Metascore
    • 42 Critic Score
    The Out-of-Towners
    Don't hate yourself for chuckling at this sweetly anachronistic update of the 1970 Neil Simon comedy.
  25. Agent Cody Banks 2: Destination London
    At bottom, there's just too much spy in young Cody, and too little kid. The writers might've taken (another) page from the ''Spy Kids'' playbook and infused the action with youth relevance.
  26. Vampires
    The goons themselves, though, look rather chic, flying through the air in Galliano-goes-to-hell garments straight out of Vampire Vogue.
  27. Little Lili
    Because the talk never gets beyond statement making, and because the characters emit none of Chekhov's radiantly lived-in soulfulness, there's plenty of time to appreciate the sun-kissed landscape.
  28. Exorcist: The Beginning
    The new movie is a dusty piñata stuffed with omens and not much more.
  29. Jeepers Creepers II
    Writer-director Victor Salva squanders all of his original movie's not-entirely-awfulness and bumbles into the realm of unintentional comedy.
  30. Grind
    Supplies stretches of actual skating footage by pros doubling for the stars. It's in these moments, freed from the earthbound pull of its market-tested components, that the movie briefly relaxes into the sheer thrilling audacity of flying into the air propelled by a board on wheels.
  31. Save the Last Dance
    This wan, formulaic teen movie from ''Metro'' director Thomas Carter is afraid to pump up the volume on its own interracial, hip hop Romeo and Juliet story, lest it challenge even one sedated viewer or disturb the peace.
  32. Bubba Ho-tep
    Don Coscarelli, writer-director of the logy, fatuous Bubba Ho-Tep, is trying to will a cult movie into existence -- which, of course, never works.
  33. America's Sweethearts
    No excuse for the bitterness and crudity in America's Sweethearts -- a noxious combination that erodes the 1930s and '40s screwball-comedy armature on which this mirthless movie is based.
  34. Treasure Planet
    Quite honestly, you could nap for an hour and not miss a thing, but when the crew finally makes it to the glowing piles of booty at Treasure Planet's core, the film unleashes some pleasing visual fireworks. That's where it should have started, not ended.
  35. Dreamcatcher
    The nightmare is that the live guys in this Dreamcatcher lose the battle the minute the mechanical worm turns.
  36. Jersey Girl
    For some four fifths of its length, Jersey Girl is as square as a turnpike-diner place mat.
  37. 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
  38. Birth
    When Kidman slithers into a bathtub with her young ''husband,'' the scene, in its soft-pedaled way, is the definition of exploitation: It appears to have been cooked up for no other purpose than to conjure creepy child-porn overtones.
    • 49 Metascore
    • 42 Critic Score
    Bedazzled
    A little more script work, at the very least, should have gone into the manufacture of the black comedy Bedazzled.
  40. Rush Hour
    The two characters barely even have a relationship; they're a union of demographics--the "urban" market meets the slapstick-action market.
  41. The Replacements
    The incisive, close up photography by ''The Sixth Sense'''s Tak Fujimoto outclasses the story by yards.
  42. Confessions of a Teenage Drama Queen
    With no Jamie Lee Curtis as a volleying partner, though, Lohan's chipper energy is, like, so totally out of proportion given the colorless pliability of everyone around her.
  43. The Scandal
    Les Liaisons Dangereuses is such an elaborate and satisfying structure of deceit and salaciousness that every attempt I have seen to adapt it on film -- "Dangerous Liaisons," "Cruel Intentions," even the trashy 1959 Roger Vadim version -- has resulted in an entertainment of agreeable nasty elegance. Until now.
  44. Wild at Heart
    A lurid hodgepodge of the ''subversive'' and the secondhand, the movie lacks the primal pop pleasures of Lynch's best work.
  45. The Butterfly Effect
    Kutcher is the wrong actor to anchor a psychological freak-out.
  46. The Machinist
    Bale exists all too large under the circumstances, a well-fed actor playing at emaciation for the sake of a fiction about a character whose torment is as unreadable as his vertebrae are countable.
  47. Malibu's Most Wanted
    A send-up of rap personality in which no one actually has a personality. The joke, alas, is on the movie.
  48. 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.
  49. No Such Thing
    Hartley is trapped between sincerity and mock sincerity, and that all but dooms a filmmaker to slipping through the cracks.
  50. A Love Song for Bobby Long
    A poky dawdle of a Southern-style indie that would pass without notice but for John Travolta and Scarlett Johansson.
  51. A Cinderella Story
    When not unnecessarily bland, synthetic, and indistinguishable from undistinguished teen TV, A Cinderella Story is unnecessarily coarse and dumbed down, with every character except Sam and Austin subject to perfunctory ridicule.
  52. Alexander
    An exhausted epic, one that Stone has directed with an almost startling lack of personality or vision.
    • 1 Metascore
    • 42 Critic Score
    Bio-Dome
    Even with the low expectations any reasonable viewer brings to a Shore flick, this rates only stupid-plus. The bongs-and-pajamas set, though, should be riveted.
  54. 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.
  55. Raise Your Voice
    Hilary Duff makes me long for the comparatively Dostoyevskian depths of Sandra Dee.
  56. Taking Sides
    The sides to consider in Taking Sides are all but obscured by cinematic pomposity at best, Holocaust porn at worst.
  57. Yu-Gi-Oh!: The Movie
    It's all the thrill of watching other people play Uno.
  58. Wilbur Wants to Kill Himself
    Too chicly depressive -- and, for the most part, too dull -- to bear.
  59. Garfield
    Cloddish, unfunny dud.
  60. Napoleon Dynamite
    Filmmaker Jared Hess (who cowrote the script with his wife, Jerusha Hess) installs Napoleon front and center as a punchline in and of himself -- and as that dispiriting product of narrative defeat, a symbol.
  61. Bill & Ted's Bogus Journey
    If any character steals Bill & Ted's Bogus Journey, it's the Grim Reaper, who, as played by William Sadler, keeps smirking with pleasure at the chance to loosen up.
    • 53 Metascore
    • 42 Reviewed by
      Ty Burr
    Crash
    The only entertainment value is in imagining Turner's apoplexy when he watched Spader having sex with Rosanna Arquette's leg wound.
    • 54 Metascore
    • 42 Critic Score
    The Substance of Fire
    Rifkin's descent into madness is Shakespearean in scope, but the rest (except Parker) are precious. Fire? Duraflame. [18Jul1997 Pg.90]
    • Entertainment Weekly
  64. Evita
    Technically, Madonna's singing is beautiful -- elegant, silky, refined. Yet there's no fire, no twinkle of ambitious joy, to her performance. Her face is fixed, almost tranquilized -- a porcelain mask.
  65. Phenomenon
    Phenomenon (directed by Jon Turteltaub, the guy who sedated us with "While You Were Sleeping") would be pretty unbearable were Travolta not so consistently charming.
  66. Home for the Holidays
    Foster, working from a patchy, meandering script by W.D. Richter, produces scene after scene of rudderless banter. The movie is all asides, all nattering; the actors seem lost in their busy, fractious shticks.
  67. Dangerous Minds
    Yet despite its promising pedigree, Dangerous Minds has a slick, syrupy fraudulence -- it's like an Afterschool Special made for MTV.
  68. Dead Man
    The film has barely started, and already we can tell what we're in for -- two hours of metaphysical drift.
  69. Interview with the Vampire: The Vampire Chronicles
    Dramatically, though, the film is torpid.
    • 51 Metascore
    • 42 Reviewed by
      Ty Burr
    The Pelican Brief
    Pakula insists that The Pelican Brief is haute cuisine, and the seriousness nearly wrecks it.
  71. Spy Hard
    I'm happy to report, though, that even a dud like Spy Hard can't completely douse the stumbling Zen charm of Leslie Nielsen, whose genius is that he never quite sheds the illusion that he isn't in on the joke.
    • 47 Metascore
    • 42 Reviewed by
      Ty Burr
    Empire Records
    The movie is too blatant a throwback to crass '80s teen fodder to really work.
  73. The Long Kiss Goodnight
    Ultimately, however, Kiss is too ridiculous to engage us as a thriller yet too cringingly self-conscious to amuse us as camp.
  74. Mary Reilly
    The film's chief novelty turns out to be its drab ''literary'' approach to horror.
  75. M. Butterfly
    Cronenberg directs this doomed romance in the same flat, claustrophobic, night-of-the-zombies style he employed in ''Naked Lunch''; as a dramatist, he's still stuck in Interzone.
  76. Poetic Justice
    With Poetic Justice, John Singleton has (at least temporarily) lost his way, but he may have found an actor [Shakur] who can help lead him back.
  77. Jacob's Ladder
    The movie, a piece of luridly baroque metaphysical trash, is about a Vietnam veteran who keeps getting jolted by demonic visions.
  78. Legends of the Fall
    This puffed-up Western set in Big Sky country becomes a small-screen horse opera.
  79. Sex and the City 2
    As Carrie might type on her laptop while giving one of her girly little shrugs, When did Sex and the City become so long and mean so little?
  80. Takers
    At least they do look sharp in those suits.
  81. Marmaduke
    An afterthought of a plot ships the family from Kansas to the O.C., offering SoCal set pieces -- like a doggie surfing contest -- to spackle the few gaps between big-dog-small-world jokes.
  82. MacGruber
    The result is a naughty throwaway in all senses of the word.
  83. Robin Hood
    The battles are grainy and ''existential,'' but what they aren't is thrilling. They're surging crowd scenes with streams of arrows and flecks of blood, and Crowe, slashing his way through them, is a glorified extra. He's so grimly possessed with purpose that he's a bore, and so is the movie.
  84. Day Night Day Night
    A stunt masquerading as a statement.
  85. Fay Grim
    The faux espionage plot, with its winks at terrorism, is really just a convoluted plea for the relevance of precious indie artistes (i.e., Hal Hartley).
  86. The Wendell Baker Story
    Feels like an attempt to rebottle the postmodern fizz of Wes Anderson's "Bottle Rocket." I wish instead they'd put a stopper in it.
  87. Captivity
    Roland Joffé brings an artful video-grunge look, and not much else, to this "Saw" clone.
  88. Holly
    A dawdling, myopic drama.
  89. Ezra
    The film is so committed to its view of Ezra as a pawn in the psychotic game of postcolonial Africa that he is never allowed, as a character, to become more than a pawn.
  90. The Strip
    The makers of this mediocre comedy about dorky guys who work in a cut-rate electronics store probably hoped that "40 Year-Old Virgin" lightning would strike twice. It doesn't.
  91. The Thorn in the Heart
    But overall, this lazy, sweet trifle seems to express the banality of well-being.
  92. After.Life
    Requires Neeson to stare coldly and talk to corpses, but Ricci has the greater dramatic challenge: She has to operate, unfazed, in close-up nakedness much of the time.
  93. Predators
    As a fan of Schwarzenegger's macho, heart-of-darkness original, it gives me no pleasure to say that Predators is an uninspired mess of mediocre action scenes strung together until the final reel.
  94. Looking for Eric
    The British director Ken Loach can be a master of working-class realism, but not in this cranky, rudderless shambles.
  95. Charlie St. Cloud
    The surreal thing is, Zac Efron can't do despair.
  96. Flipped
    Worse, he (Reiner) vacuum-seals it all in a patronizingly wholesome package, like an extended episode of "The Wonder Years" with all the wonder sucked out.
  97. Twelve
    Twelve ogles the lost boys and girls as they make their mistakes. But unlike the novel, the movie never really gets inside these kids, who aren't in the least all right.
  98. Vampires Suck
    The exception is newcomer Jenn Proske, who spoofs Twilight star Kristen Stewart's flustered, hair-tugging angst with hilarious precision.
  99. I Spit on Your Grave
    Now it's just some thin chick in her underwear, kicking butt.
  100. Legendary
    A well-meaning dud.
Page:

Top Trailers

See all »
See all trailers »