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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    • 72 Metascore
    • 67 Reviewed by
      Ty Burr
    Bringing Out the Dead
    Works more in your head than on the screen.
  2. The Big Lebowski
    Nearly everything in The Big Lebowski is a put-on, but all that leaves you with is the Coens' bizarrely over-deliberate, almost Teutonic form of rib nudging.
  3. Bring It On
    It's an okay brat movie.
  4. Kitchen Stories
    The icy whimsy of Kitchen Stories is certainly well sustained, but you don't laugh at the movie so much as wait for the joke to thaw.
  5. Cold Mountain
    Minghella's adaptation of the 1997 Charles Frazier novel is emotionally detached and almost too studiously carpentered: a willed exercise in mythmaking.
  6. How the Grinch Stole Christmas
    If anything, the real surprise here is how affecting he makes the Grinch's ultimate big hearted turnaround, as Carrey the actor sneaks up on Carrey the wild man dervish. In whichever mode, he carreys the movie.
  7. NASCAR: The IMAX Experience
    This otherwise entertaining, aficionado-oriented production, with its circus-act technology that lets a viewer feel, briefly, like a member of the Petty racing dynasty, is as gaudily patched with corporate sponsorship as the sport itself.
  8. 40 Days and 40 Nights
    A kinder, gentler teensploitation comedy, but Hartnett's Matt, at least, invites the audience to graduate to something better.
  9. The American President
    In the end, the movie says that the President's private life matters, all right -- that Shepherd should get the girl and reestablish his leadership by giving in to the noble liberal he always was inside. Even for a modern Capra fable, that's a bit much to swallow.
  10. Anastasia
    Anastasia has the Disney house style down cold, yet the magic is missing. Perhaps that's because the story's somber emotional hook--Anastasia's thwarted desire for home--is asserted rather than dramatized.
  11. Chocolat
    It's as agreeably sweet as advertised, with a particularly yummy performance by Juliette Binoche.
  12. Bridget Jones: The Edge of Reason
    A triumph of performance, production, and adaptation over the empty-calorie dither of its source material.
  13. Camp
    The sum is no greater than the ''Fame''-style saga of any one of them, and Graff, an actor and screenwriter making his directing debut, is less successful at developing each story than at conveying his general affection for the curtain-call species.
  14. Pearl Harbor
    The picture is nearly painstaking in its traditionalism, a tale of love, war, and valor in which nostalgia for ''simpler times'' gets mashed together, almost fetishistically, with nostalgia for old movies and for the spirit of knightly self sacrifice during World War II.
  15. Touch of Pink
    Rashid's optimistic fairy tale is inventive, in a show-queen way.
  16. Without a Paddle
    There are some genuinely clever moments of physical comedy, and the inevitable crudeness is offset by winning whimsy. Without has all the freshness of moldering Playboys stashed under a mattress, but it evokes what few boys-will-be-boys larks can: chumminess.
  17. Closer
    The last thing Marber's quartet of modern miserables needs is to be admired; they are the very worst of average people, but on screen they have become the very best of the baddest.
  18. House on Haunted Hill
    Trash, but always just a little creepier than you expect.
  19. I, Robot
    A routine Will Smith cop-on-the-hunt thriller at heart, I, Robot lacks imaginative excitement.
  20. The Manchurian Candidate
    What this Manchurian Candidate for a new generation makes up for in timing, it lacks in discipline and edge.
  21. The Woodsman
    Worth seeing for Bacon's lived-in minimalist purgatory, but the movie soft-pedals the nature of the desires he's at war with: the fact that they will never go away.
  22. The SpongeBob SquarePants Movie
    The best moments in his first movie outing are those that feel most TV-like, just another day in the eternally optimistic undersea society.
  23. Swept Away
    Ritchie made a movie that never pretends to be more than a guilty pleasure of soft-core kitsch, and Madonna and Giannini (son of Giancarlo, costar of the original) achieve a lively S&M chemistry.
  24. The Life Aquatic with Steve Zissou
    As someone who has warmed up to Anderson's work only gradually, I'd call this a step back for him, but I also can't help but wonder: Will he ever take that crucial step forward and stop saying, Isn't it ironic?
  25. Meet the Fockers
    The old-pro twosome of Streisand and Hoffman make such sexy and inviting ethnics (as a certain kind of movie likes to think of a certain kind of Jewish character) that they blithely prevail over the been-there-done-that gags.
  26. High School High
    The Naked Gun writing team and actor-turned-director Hart Bochner do unto the stereotype of inner-city high schools what needs to be done to stereotyped inner-city high schools -- parody them silly -- in this high-flying, low-comedy production.
  27. Beavis and Butt-Head Do America
    Scene for scene, the duo are in good form. Yet this is one case where more turns out to be less.
  28. Volcano
    I had a pretty good time at Volcano. The reason I didn't have a better time is that the characters aren't just schlocky, they're boring.
  29. Murder at 1600
    As directed by Dwight Little ("Free Willy 2: The Adventure Home," a morph of "The Day of the Dolphin" and "Lassie Come Home"), the tension-to-action sequences unspool efficiently.
  30. The Rock
    Sean Connery and Nicolas Cage inject tasty bits of personality into their roles.
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