Entertainment Weekly's Scores

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For 7,798 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 2.1 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 7798
  2. Mixed: 2,080 out of 7798
  3. Negative: 760 out of 7798
7798 movie reviews
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  1. Hannah Takes the Stairs
    What defines the slacker-geek twentysomething men and women who wander through Joe Swanberg's too-hip-to-be-romantic comedy Hannah Takes the Stairsis that they treat their libidos as minor accessories -- only to stammer through every casual conversation as if they were on a first Internet date.
    • 36 Metascore
    • 67 Critic Score
    War
    There are few cinematic crimes more heinous than making a boring action movie. Sadly, that's what the first hour of Triads-versus-Yakuza thriller War is.
  3. The 11th Hour
    This activist documentary -- alternately impassioned, despairing, edifying, and hectoring about all the ways humans are screwing up the earth in a death rattle of hubris -- shouts, People, do something! In contrast, "An Inconvenient Truth" feels positively hushed.
  4. The Invasion
    The movie isn't terrible; it's just low-rent and reductive.
  5. December Boys
    The filmmakers can't decide whether to trust the period innocence of the book (and play down their casting coup) or let the young man rip as a preteen-babe magnet... So December Boys splits the difference -- safely, dully.
  6. Halloween (2007)
    This Myers is more problem child than bogeyman.
  7. Sydney White
    "Revenge of the Nerds" is way cooler in its proud defense of geekosity, no question. But anti-ditz role model Amanda Bynes just happens to be cute.
  8. Trade
    As a movie, Trade is so-so, but as an exposé of how the new globalized industry of sex trafficking really works, it's a disquieting, eye-opening bulletin.
  9. For the Bible Tells Me So
    The film's argument against overly literal Bible readings may not preach to anyone but the converted, and when For the Bible Tells Me So strays from scripture, its ardent plea for sexual freedom within modern Christian life grows a bit too late-night PBS generic.
  10. The Good Night
    The filmmaker's got good taste -- and luck -- in casting.
  11. The Heartbreak Kid
    Grodin always seems like a real guy, whereas Stiller, even working it, is just the designated loser-clown of the megaplex era. He's too harmless to break any hearts.
  12. Gone Baby Gone
    Affleck the director shows excellent instincts, not least of which is letting his younger brother, Casey, hold the center as a young guy not as smaht as he thinks he is.
  13. Why Did I Get Married?
    Perry is of the spell-everything-in-capital-letters and act-it-out-loudly schools. Yet his sensitivity to women is a tonic.
  14. We Own the Night
    The story is too patterned and too contrived.
  15. Darfur Now
    The film gets a little ''We can fix this!'' inspirational for a chronicle of such staggering darkness.
  16. The Perfect Holiday
    Why throw in a bizarre device involving Queen Latifah as a narrating angel and a creepy, sallow Terrence Howard as her adversary? Their A-list names may be a draw, but it's too bad no one thought the endearing performances in this charming (if cliché) family romance would be enough.
  17. Southland Tales
    Southland Tales has a mood unlike anything I've seen: dread that morphs into kitsch and then back again. It's a film that tried my patience, and one I couldn't shake off.
  18. Nanking
    Nanking, a carefully nonpunitive documentary of remembrance, is emotionally draining, as it should be, but it's also overstructured, as it needn't be; the actors are intrusive in a story that isn't theirs.
  19. National Treasure: Book of Secrets
    Director Jon Turteltaub has fun with Indian glyphs, giant stone pulleys, and an Indy Jones-worthy City of Gold located beneath the rocky shoals of Mount Rushmore.
  20. City of Men
    As heavy with message as any Hollywood delinquent drama of the late '50s.
  21. Mad Money
    Latifah coasts on grit and verve, and Holmes has a goggle-eyed sweetness, but it's Keaton who rules.
  22. Rambo
    Rambo teaches that fighting sucks, good intentions can be futile, and coalitions of the willing are a charade: A man's got to do what a man's got to do.
  23. Untraceable
    Lane skillfully sells the tech-heavy script. But after a much-too-early reveal of the murderer's identity, the ''low battery'' signal starts to flash on this film by thriller specialist Gregory Hoblit, director of last year's far superior "Fracture."
  24. Hannah Montana & Miley Cyrus: Best of Both Worlds Concert
    Cyrus, an apple-cheeked dumpling, resembles Pia Zadora, but when she exhorts the crowd, it's with the martial efficiency of Hillary Clinton.
  25. Wild West Comedy Show: 30 Days & 30 Nights - Hollywood to the Heartland
    Has a loosey-goosey, what-the-hell spirit that's easy and fun to hook into.
  26. Welcome Home, Roscoe Jenkins
    Mo'Nique is similarly given little opportunity to show off her indisputable comedic chops, though her freewheeling monologue during the closing credits hints at what might have been.
  27. The Spiderwick Chronicles
    Spiderwick is set in the present, but goes for an overall design look of dainty, cozy, William Morris-y arts-andcraftiness.
    • 50 Metascore
    • 67 Critic Score
    Step Up 2: The Streets
    In a sequel that features the original's Channing Tatum only in cameo, a Baltimore teen (Briana Evigan, very winning) enrolls at an arts academy, leaving her street-dancing pals behind. So far, ho hum. But when she decides to form a new crew with her classmates, Step Up 2 the Streets improves considerably -- and it doesn't skimp on cool pretzel moves.
  29. Be Kind Rewind
    There's nothing not to like about the movie, a teensy, hand-crocheted trifle, fitted with embroidered pockets of guest stardom, including Mia Farrow as the nice local lady who wants to see what "Ghostbusters" is all about and "Ghostbusters'" own Sigourney Weaver as a movie-studio corporate meanie, ha-ha.
  30. Diary of the Dead
    Diary of the Dead isn't bad; it's a kicky B movie hiding inside a draggy, self-conscious-work-of-auteurist-horror one.
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