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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    • 58 Metascore
    • 67 Critic Score
    Roving Mars
    The mission is an impressive coup for NASA - these scientists are smart! - but it doesn't quite slam-dunk as a fully satisfying IMAX experience.
  2. Tristram Shandy: A Cock and Bull Story
    The first great, mind-tickling treat of the new movie year.
  3. Go for Zucker
    Funny, director and co-writer Dani Levy suggests with no little coldness, how the scent of money can do what religion, ideology, and ethical principles cannot.
  4. Looking for Comedy in the Muslim World
    The movie isn't racist; it's just lame. If Brooks truly cared about Muslims or how their funny bones worked, Looking for Comedy might have had some zing, but all his character is interested in is the 500-page report he has to deliver - a homework assignment from hell.
  5. Why We Fight
    Jarecki is no glib ideologue thumbing his nose at power.
  6. End of the Spear
    Atrociously scripted and edited.
    • 36 Metascore
    • 50 Critic Score
    Underworld: Evolution
    I especially like how, when Beckinsale's half-wolf, half-vampire friend Scott Speedman moves in for a kiss, you can hear the black leather of her dominatrix getup crinkle and crackle on the soundtrack like an old saddle. Sizzlin'!
  8. Glory Road
    Still, it's only just a jump shot or two before Glory Road settles into its rudimentary, music-cued rhythms of classroom civics lessons punctuated by on-court action.
  9. Last Holiday
    A chaste and tepid remake of a 1950 British comedy.
  10. Tristan and Isolde
    Working with an explanatory script by Dean Georgaris, Reynolds is much more confident in scenes of realistic battle, or even muddy marketplace dailiness, than he is with scenes of desire.
  11. Henri Cartier-Bresson: The Impassioned Eye
    He rarely allowed himself to be interviewed, but Henri Cartier-Bresson, here nearing 100, comes off as a marvelous, spritely, and companionable figure.
  12. Film Geek
    James Westby's loving and self-aware homage to mouth-breathing boys who worship Wong Kar-Wai and can't talk to girls is the opposite of Tarantino-esque: It's Westby-ish, interspersing settings of biting social oafishness with spasms of film knowledge.
  13. Fateless
    In the juxtaposition of cataclysmic matter-of-fact misery and cinematic poetry, the filmmaker finds a calmly stunning way to convey the experience of living with death as something intimate, and, unnervingly, almost natural.
  14. Hostel
    It's obligatory for a horror film to feature exploitative sex as an appetizer, but Roth, even as he fulfills the sleaze imperative, does something shrewder: He mocks his heroes, presenting them as cold-eyed horndog jerks who fail to see that they've wandered into an entire country of exploitation.
    • 33 Metascore
    • 25 Critic Score
    Grandma's Boy
    Does a very thorough job of reducing every recognizable member of the cast to probable career lows.
  16. Kill the Poor
    As an overwrought, overacted drama, Kill the Poor is negligible.
    • 18 Metascore
    • 0 Critic Score
    BloodRayne
    Ghastly-bad.
    • 53 Metascore
    • 50 Critic Score
    The Promise
    There's a nice Road Runner-cartoon moment when the slave runs really, really fast, carrying the wounded general on his back while dodging an attack of CG bulls. I can't imagine Road Runner was what Chen had in mind for the most expensive movie ever made in China, but then, I was born too late for the time of the snowy eagle.
  19. Match Point
    To call Match Point Woody Allen's comeback would be an understatement - it's the most vital return to form for any director since Robert Altman made "The Player."
  20. Wolf Creek
    Wolf Creek, an unusually crisp and boldly shot "Texas Chainsaw Massacre" knockoff, looks as ancient and patterned as a druidic ritual.
  21. Casanova
    And if real eroticism is missing - this is a Disney movie, with bosoms heaving more in a gentle parody of heaving than in full desire - the great discovery of this Casanova is Hallström's recovered capacity for play.
  22. Rumor Has It...
    A mess -- all high concept, stranded performances, and no laughs.
  23. The New World
    Many have tried, but none can match Malick's touch for shuffling a deck of elegiac images (water/sky/clouds/rain) and fanning out the hand to express what speech cannot; he's a master, too, of incorporating sound that is often wordless but never empty.
  24. The Matador
    The cinematography is consistently hipster handsome, the script is bracing in its lewdness, and Brosnan adds no unnecessary weight to Noble's meaninglessness.
  25. Munich
    Munich, Steven Spielberg's spectacularly gripping and unsettling new movie, is a grave and haunted film, yet its power lies in its willingness to be a work of brutal excitement.
  26. Caché (Hidden)
    The picture moves with stealth, enjoying its own thriller-ness as hints are laid and mislaid. There's a sense that Hitchcock is hovering in the background and cheering for Auteuil, who musters all his French superstardom to play a man having his mask of blandness torn off.
  27. The Ringer
    The surprise of The Ringer is that the movie is pretty damn funny.
    • 34 Metascore
    • 33 Critic Score
    Cheaper by the Dozen 2
    What you have is less a sequel to a not-so-bad remake than yet another remake, this one of that not-so-great 1988 John Candy comedy "The Great Outdoors."
  29. Fun with Dick and Jane
    Wearing a brush cut that never fits the role, Carrey doesn't do a lot here besides flash those vampire-nerd teeth, and I grew weary of seeing them.
  30. The White Countess
    I don't think it's too much of a stretch to say that this oasis of romance amid the turmoil of Shanghai represents the way that Merchant and Ivory, for 40 years, saw themselves: as a sanctuary of calming, life-size taste in a movie culture grown coarse. It was often far from perfect, but I'll miss that sanctuary.
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