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. Because I Said So
    This slapdash, charmless, baldly boomer-chasing romantic comedy, directed by Michael Lehmann (Heathers) from a clunky, orgasm-obsessed script by Karen Leigh Hopkins and Jessie Nelson, is the lazy studio's answer to a call for more age-appropriate entertainment for "More" magazine readers.
    • 34 Metascore
    • 50 Critic Score
    The Messengers
    There are a few decent jolts in The Messengers, but every one of them is accompanied by a cheap freak-out on the soundtrack so you know to be decently jolted.
  3. The Situation
    An overstuffed, unengaging drama that makes time for a love triangle.
  4. Puccini for Beginners
    The plot, which spins around Allegra's lovers having just been an item, is awkward bedroom farce, but the tone is Woody Allen-meets-"The L Word," with a patina of literary cuteness that now seems like the sound of a vanished Manhattan.
  5. Constellation
    Deeply odd films are often deeply personal ones, and Constellation, a dazed, inchoate drama about a mixed-race Alabama family, tells a story that's clearly close to the heart of writer-director Jordan Walker-Pearlman.
  6. East of Havana
    East of Havana picks at these politico-philosophical threads rather than pulling them, and the sense of a larger movement is fleeting. There's a beat, but we never quite see who's dancing to it.
  7. In the Pit
    The soft-spoken, impressionistic documentary (with a hypnotic score built from the sounds of construction) climaxes with a six-minute helicopter-cam view of the colossal structure to which these somebodies have been dedicating their sweat, and sometimes their very lives.
  8. An Unreasonable Man
    Nader became famous as a "consumer advocate," but as the thrilling first hour of An Unreasonable Man makes clear, that humdrum bureaucratic term didn't do justice to his courage, his vision.
  9. Blood and Chocolate
    Werewolves are tame with overuse, and movies like Blood and Chocolate -- where moments of inspiration vie in vain with Goth cliché -- play like underlit "Charmed" reruns.
  10. Catch and Release
    I just don't know any chick who will make sense of this flick -- it's that blitheringly out of touch with present psychosexual (never mind feminist) time and space.
  11. Epic Movie
    Epic Movie is just timely enough to conclude with a wink and a nod to Borat. I only wish that it had been bold enough to go Borat on HIM.
  12. Smokin' Aces
    A cheerfully disposable gangland freak-show thrill ride that's been directed by the gifted Joe Carnahan (Narc) as if he were trying to give the audience a seizure.
  13. Seraphim Falls
    Neeson and Brosnan are supremely well-matched foils, though I do wish that the filmmaker, David Von Ancken, had lent his sparsely mythic tale just a twinge of something...new.
  14. The Hitcher
    A remake of the 1986 suspense ''classic,'' is as processed and hoot-worthy as the original.
  15. The Italian
    The result is a picture half sweet, half bitter. Charles Dickens would approve.
  16. Mafioso [re-release]
    Mafioso does more than cast its fascinating shadow over "The Godfather." It captures, in a stark yet haunting way, the indelible fact that no man is born a mobster.
  17. Alone with Her
    Intriguing creepout.
  18. Alpha Dog
    Cassavetes throws in everything he can recycle to grab a core-demo viewer -- slutty teens making out, blaring rock music, guns, split screens.
    • 35 Metascore
    • 67 Critic Score
    Primeval
    Pit a reptile the size of a school bus against an American TV-news crew in war-scarred Burundi, and you get "Hotel Rwanaconda," a horror movie interested in cheesy scares and drawing attention to the plight of poor Africans. (So no, Primeval is not the '"serial killer'" film promised by the ads.)
  20. Stomp the Yard
    The shallow frat-on-frat rivalry and the poor-boy-loves-rich-girl subplot don't mean a thing. But the stepping does got that swing.
  21. God Grew Tired of Us
    God Grew Tired of Us never brings us half as close to its subjects as the far more penetrating "Lost Boys of Sudan" did in 2004.
  22. Tears of the Black Tiger
    A few more films like Tears of the Black Tiger, and kitsch will be on its way to having a bad name.
  23. Abduction: The Megumi Yokota Story
    For 20 years, Megumi's family doesn't know where she is; when they find out, the frustrations and uncertainties only mount. But as thickets of history and culture are (too) neatly avoided, the viewer is also left in the dark.
  24. Comedy of Power
    Chabrol has fashioned a mystery that caves in on itself, but unfortunately, it caves in on the audience, too.
    • 28 Metascore
    • 16 Critic Score
    Happily N'Ever After
    Stuffed with stock characters -- the vain prince, the critter sidekicks -- who adamantly stay stock.
  26. Freedom Writers
    Square, sincere, and proud of it.
    • 33 Metascore
    • 25 Critic Score
    Code Name: The Cleaner
    Get Lucy Liu better roles!
  28. Pan's Labyrinth
    Like any great myth, Pan's Labyrinth encodes its messages through displays of magic. And like any good fairy tale, it is also embroidered with threads of death and loss.
  29. Perfume: The Story of a Murderer
    Perfume misses some of the subtler base notes of Süskind's creepier, more self-aware original, but Whishaw and Tykwer blend the movie into something quite heady in its own bottle.
  30. Miss Potter
    Miss Potter, right to the end, is the definition of a "nice" movie, and that makes it a genuine oddball in a universe of increasingly distressed and uncivilized pop culture.
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