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. The Good Guy
    One by one, each scene goes slack as the script struggles with Screenwriting 101 problems like who the main character is and what he wants -- not to mention why any of us should care in the first place.
  2. Whatever Works
    The fact that Allen wrote the script in the '70s explains something about why his newest movie feels so old.
  3. Oldboy
    Oldboy caused a love-it-or-hate-it stir at Cannes last year, and how could it not: It's an onslaught made to cause a sensation. Consider me simultaneously jolted and depressed.
  4. Little Miss Sunshine
    If you're going to get on the wavelength of Little Miss Sunshine, you've got to be able to enjoy a comedy in which the characters fit into hermetically cute, predetermined sitcom slots.
  5. Burn After Reading
    The movie is overplowed, even if Brad Pitt's debut as a Coen comedy player is eye-catching.
  6. Inland Empire
    Inland Empire is so locked up in David Lynch's brain that it never burrows its way into ours.
  7. Racing Stripes
    So what disturbed me? It was the Shetland pony, which sports both Dustin Hoffman's pipes and his "I Heart Huckabees" toupee, and will haunt my nightmares forever.
  8. Appleseed
    At this point, there's something almost masochistic about the way animators in Japan use cheesy ''Westernized'' heroes to fuel their fantasies.
  9. Are We There Yet?
    It's been a while since we saw a bad John Hughes comedy, and Are We There Yet? more than fits the bill (even though Hughes had absolutely nothing to do with it).
  10. Rory O'Shea Was Here
    Rory O'Shea Was Here gazes at the physically afflicted and just about begs for our sympathy long after we've grown restless and eager to feel something else.
  11. Hitch
    Will Smith, taking a break from summer sci-fi smashfests, certainly shows a gift for modulation. Far from coasting, he plays a world expert at romance by ratcheting his charm up and down in supple, exacting degrees.
  12. Son of the Mask
    The characters twirl around like mini tornadoes, but between random brash moments of technological eye-tickling, Son of the Mask sags more than it spins.
  13. Man of the House
    Walking the path grooved by such stone-faced confreres as De Niro and Schwarzenegger (and following up on his own more successful self-parody in "Men in Black"), Jones positions himself as a Man in a Stetson.
  14. The Ring Two
    The scariest thing in the not-scary-enough The Ring Two is the notion that even smart, attractive adults - yikes, even mothers - just never learn, either.
  15. Dust to Glory
    It turns out that speeding along dirt roads isn't nearly as photogenic - or as varied - as surfing is.
  16. Torremolinos 73
    Has the dubious distinction of being just about the mildest porno comedy ever made. It's like something the teenage Pedro Almodóvar might have written to shock his 10th-grade creative writing teacher.
  17. A Lot Like Love
    A Lot Like Love is a lot like a romantic comedy, except that all that's keeping these two kids apart is the trivially insufferable movie they're in.
    • 41 Metascore
    • 50 Critic Score
    House of Wax
    Except for when Paris is on screen giving us the winking sex eye, Wax is just a museum of gory, joyless, easy shocks.
  19. Dominion: Prequel to the Exorcist
    Schrader, in Auto Focus, displayed a devious sense of sin, but in Dominion the Calvinist schoolboy in him insists on trumping sin with guilt.
  20. Second Best
    Second Best might have made a good stage monologue, but as a film it's overstated and barely baked.
  21. Bewitched
    The Ephron sisters, sophisticates entrusted with a simple TV situation comedy, lose the magic of the com as they mess with the sit.
  22. Fantastic Four
    This clumsy, cheesy, chintzy adaptation, with its F/X that look dated the moment you see them, is like something left over from the '60s.
  23. Happy Endings
    There are pleasing outcomes for almost everyone in Happy Endings, and that's not good news.
  24. The Island
    The Island begins with a whimper of interest as a cool-hued, cautionary exploration of the ethics of cloning, and ends, in a hail of product placement, with a dumb bang.
  25. 9 Songs
    Nobody will go to see Michael Winterbottom's sexually explicit, novelty-act drama - a naughty peep show for sobersides, disguised as a nature documentary - to hear the songs; everyone will go to see the shagging, which occupies the majority of the screen time.
    • 51 Metascore
    • 50 Critic Score
    Saint Ralph
    At first, Ralph and the movie have moxie -- the kid even gets busted for pleasuring himself in the public pool. Then Ralph starts asking us to take this cornball mission seriously.
  27. Asylum
    Nothing wrecks the mood of a high-toned British period piece about erotic obsession quicker than an unintentional laugh. In which case, prepare for Asylum to be derailed by snorts in all the wrong places.
  28. Supercross
    Amusingly, Supercross puts up a fierce anticorporate front, lauding the self-financed ''privateer'' over the ''factory'' cyclist. If this is a joke, few will get it.
  29. Valiant
    The CG is on the rubbery side, and the backdrops are jarringly 2-D. But Valiant isn't so hard to look at -- it's hard to listen to.
  30. The Baxter
    "The Station Agent's" Peter Dinklage provides diversion as a gay wedding planner.
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