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. The Boondock Saints II: All Saints Day
    Earns points only for being remarkably unself-conscious about its across-the-board ineptitude.
  2. Gentlemen Broncos
    The audience may have bought the act in "Napoleon Dynamite." But this time, the act bombs.
  3. The House of the Devil
    There's wit but never a wink in this smartly shot production, which pays homage to the 1980s without fetishizing the era.
  4. Skin
    A tragic, enraging, and uplifting tale.
  5. This Is It
    This Is It offers a raw and endearing sketch of a genius at work.
  6. Antichrist
    The trouble is, it's all too exhibitionistic to ring true. The impotent folly of Antichrist is that von Trier has made it his mission to shock the bourgeoisie in an era when they can no longer be shocked.
  7. Amelia
    A frustratingly old-school, Hollywood-style, inspirational biopic about Amelia Earhart that doesn't trust a viewer's independent assessment of the famous woman pictured on the screen.
  8. Astro Boy
    A marvelously designed piece of cartoon kinetics.
  9. Cirque du Freak: The Vampire's Assistant
    Subplots go nowhere, and characters -- many played by well-known actors -- barely get screen time. Willem Dafoe, Salma Hayek, and Jane Krakowski are among those who are there and gone.
  10. Saw VI
    The thinnest, draggiest, and most tediously preachy of the Saw films.
  11. (Untitled)
    The whole cast is museum quality, and the ''music'' performances are pitch-perfect in their dissonance.
  12. Motherhood
    Parenthood seems only half aware of Eliza's REAL problem: that she thinks she's superior to the choices she's made.
  13. Ong Bak 2
    Jaa, mesmerizing as ever to behold with his pinwheel moves, also (co)directs for the first time.
  14. The Wedding Song
    Has a sensuous, intimate filmmaking style that overrides The Wedding Song's more precariously loaded plot parallels.
  15. Where the Wild Things Are
    This is one of the year's best. To paraphrase the Wild Thing named KW, I could eat it up, I love it so.
  16. Law Abiding Citizen
    Clyde is meant to be nuts, but too often it's Law Abiding Citizen that checks rationality at the door.
  17. New York, I Love You
    These tales are as highly designed as fashion layouts. But they're as relaxing to thumb through as those NYT Magazine trend pieces.
  18. The Stepfather
    The trouble with the movie, apart from its rather monotonous dourness of tone, is that everyone in the family, especially the reformed-delinquent high school son (Penn Badgley), comes off as tougher, smarter, and quicker on the draw than the stepfather who's supposed to be outfoxing them.
  19. The Maid
    Raquel's devotion to her employer is barbed with hatred, need, and an insecurity she manifests through constant tiny acts of sabotage that would be funny if they weren't also so chilling -- bordering on psychotic.
  20. An Education
    Afterward, you'll want to listen to the Beatles sing ''She's Leaving Home.'' It might be a girl like Jenny the lads had in mind.
  21. The Damned United
    What's lost in translation is recovered easily enough in Michael Sheen's astonishing performance as Clough.
  22. Couples Retreat
    Thanks to Vaughn, Favreau, and the stray sharp lines that pop out of everyone else, the film at least offers the lively sound of egos that still know how to swing.
  23. Good Hair
    Rock gives Good Hair a rousing message: Where African-Americans in the '60s adopted a ''natural'' look, they now feel free to coif their heads any way they want. That's cultural power.
  24. Trucker
    Whenever an actress takes on a gritty working-class role, the audience does a gut check of authenticity. Either the actress gets it, like Melissa Leo did in "Frozen River," or she doesn't, like Michelle Monaghan as the spoilin'-for-a-fight truck-driver heroine of the inert indie dud Trucker
  25. Peter and Vandy
    More naturalistic -- and as a result, more believable.
  26. A Serious Man
    Working with affectionate mockery, the Coens take the cinder-block-synagogue banality of American Jewish life in 1967 and make it look as archly exotic as the loopy Scandinavian-American winterscape of "Fargo."
  27. Whip It
    The movie is Drew Barrymore's directorial debut (she also plays fellow Hurl Scout Smashley Simpson), and it's clear she's more attuned to grrrlishness than real athletic power.
  28. Zombieland
    At the bone, Zombieland is a polished, very funny road picture shaped by wisenheimer cable-TV sensibilities and starring four likable actors, each with an influential following.
  29. The Invention of Lying
    The performances are razor sharp. And the ideas in this movie are, no kidding, big.
  30. More Than a Game
    It's the die-hard camaraderie that undergirded this squad and lifted it to the top.
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