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. Deliver Us from Eva
    Union, who looks so chic and can talk so bitchy-funny, doesn't so much establish a character as roll out a series of attitudes. That's all she's called on to do. That's all anyone is called on to do: Be very tame, and make much ado about zilch.
  2. How to Lose a Guy in 10 Days
    With its ungainly double-deception premise, How to Lose a Guy feels like it was made out of two connect-the-dots drawings laid haphazardly on top of one another.
  3. Shanghai Knights
    This is an action-comedy sequel so indefatigably preposterous and farklemt -- as they say in certain Upper West Side saloons -- that it actually improves on the original.
  4. May
    Though ultimately too waterlogged with student-film self-seriousness to revel fully in its low-rent joie de cleaver -- nevertheless taps into a furious atavistic energy that reflects well on the filmmaker and his fully committed cast.
  5. Biker Boyz
    A blatant re-spin of ''The Fast and the Furious'' that also happens to be a far better movie.
  6. Lost in La Mancha
    Nothing more than a modest, streamlined ''making of...'' diary about a movie that never got made -- it's ''Project Greenlight'' with bigger stars and bigger disasters.
  7. The Guru
    Bright dialogue and finely embroidered performances adorn The Guru like festive beading on a pair of made-in-India bedroom slippers.
  8. Final Destination 2
    The only pleasure to be derived from the resulting carnage comes from the Rube Goldbergesque chain reactions that precede each fatality.
  9. The Recruit
    From the get-go, The Recruit is one of those thrillers that delights in pulling the rug out from under you, only to find another rug below that.
  10. Darkness Falls
    Darkness Falls is like something salvaged from Stephen King's wastebasket.
  11. Blind Spot. Hitler's Secretary
    Her memories lack the quality of revelation -- that is, up until the remarkable final section, in which she describes the last weeks in the bunker with Hitler and Eva Braun.
  12. Divine Intervention
    Too fragmented to be much more than a flip of the finger to history; the movie, with its mostly mute characters, is too content to plod.
  13. A Guy Thing
    Jason Lee seems to have been bitten by a vampire who sucked out all his prickly charisma. You see the promise of stardom dribbling through his fingers.
  14. National Security
    The funny thing about Lawrence is he's often paired with a partner (e.g., ''Blue Streak,'' ''Bad Boys,'' etc.), yet has no aptitude for sharing the screen.
  15. Kangaroo Jack
    A desert of shrill juvenile jokes and clanging chase sequences.
  16. City of God
    Undeniably powerful, the work also comes with its own built-in shield against feeling any one character's difficulties too deeply, or for too long.
  17. Crimson Gold
    A fable of money as the root of jealousy, discord, violence, but the film's slippery fascination as sociological exposé is the flip side of its thinness as drama.
  18. Le Cercle Rouge (1970)
    The antidote to every square tough-guy caper you've ever seen, and the inspiration for many great ones. It is an existential imperative to seek out a showing and burn rubber to get there, preferably in an excellent car.
  19. Just Married
    Collapses into the most generic sort of teen movie-ville, just at the moment it's convinced you that its lightly appealing stars are capable of better.
  20. Confessions of a Dangerous Mind
    The fascination of Confessions of a Dangerous Mind, the sharp, funny, unreasonably compelling adaptation of Barris' autobiography, is the way it soft-shoes past our skepticism.
  21. Love Liza
    Hoffman acts the hell out of the role.
  22. Nicholas Nickleby
    At a little over two hours, this is a pared-down but no less essential Dickensian feast.
  23. Max
    It challenges, this nervy oddity, like modern art should.
  24. The Hours
    While we can admire their attractive exteriors, we don't know anything about the interior lives of the three women so vibrantly miserable in their unhappiness.
  25. The Pianist
    The result is a movie, and Cannes Palme d'Or winner, of riveting power and sadness, a great match of film and filmmaker -- and star, too.
  26. Chicago
    Freshly transplanted from the stage, is a thrilling ode to the intertwined glories of sex, showmanship, and lying: what the film calls ''the old razzle-dazzle.''
  27. Pinocchio
    Benigni's Pinocchio is meant to be adorable, but he comes off as less an enchanted puppet than as a harmlessly deranged middle-aged man prancing about in the kind of froufrou cream-colored pantsuit that Dinah Shore retired to her back closet in 1977.
  28. Catch Me If You Can
    The film's charm ends up worn out by the very perfection of Frank's con. We look at this teen wizard of rotating identity, and we realize we know everything about him except who he is.
  29. The Wild Thornberrys Movie
    An average kid-empowerment fantasy with slightly above-average brains.
  30. Two Weeks Notice
    Knows what it needs to do for both its stars, does it, and doesn't make a federal case about it. I'd watch these two together again in a New York minute.
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