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 2.1 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 7797
  2. Mixed: 2,079 out of 7797
  3. Negative: 760 out of 7797
7797 movie reviews
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  1. Coldwater
    The best thing about it is its star, P.J. Boudousqué, who locates a sense of terror and betrayal that the script lacks.
    • 45 Metascore
    • 33 Critic Score
    Crazy in Alabama
    As campy as a flick by Banderas' evident artistic mentor, Pedro Almódovar.
  3. The Singing Detective
    Robert Downey Jr. is great in a role no one less magnetically reckless would dare approach.
  4. Bully
    With its smooth skinned cast and demonized adults, doesn't feel very authentic.
  5. Club Dread
    A few gags are brilliantly staged, but most have a smug, collegiate take-it-or-leave-it quality that makes full-on belly laughter feel optional.
  6. The Bone Collector
    A skeleton-thin thriller wrapped in glamorous production values.
  7. Mona Lisa Smile
    It's a gussied-up sorority-of-rising-stars project produced, I fantasize, by baby-boomer studio guys whose younger spouses articulately defend a woman's right to stay home and raise the kids.
  8. The Boy
    The film’s biggest flaw is that there’s never any doubt about where Ted is going to end up.
  9. American Assassin
    As Hurley and Rapp race against the terrorists, the plot is too dumb to be taken seriously and too self-serious to be any fun.
  10. Evita
    Technically, Madonna's singing is beautiful -- elegant, silky, refined. Yet there's no fire, no twinkle of ambitious joy, to her performance. Her face is fixed, almost tranquilized -- a porcelain mask.
  11. Evening
    For all the creaminess of the sets and costumes, every character talks as if she is still made out of written words, not flesh, and each woman's struggles feel about as important as a tea dance.
  12. Takers
    At least they do look sharp in those suits.
  13. The Protector 2
    Thai martial-arts maestro Tony Jaa’s newest film overloads on terrible F/X that rob the film of the actor’s usual brute-force balleticism.
  14. Close Your Eyes
    A cheaply made piece of ''psychological'' occult schlock, subjects you to that depressing stop-and-go rhythm that defines inept fantasy thrillers.
  15. Factory Girl
    As Factory Girl more than acknowledges, Edie Sedgwick's downward spiral was ultimately her own doing. Yet even as the film captures the silk-screen outline of her rise and fall, it never quite colors in who she was.
  16. The Son
    Unlike The Father, which expanded Zeller's stage source material with maze-like complexity, The Son pins us in for an endgame that you wish had more of a takeaway than a gut punch.
  17. Pretty Persuasion
    The movie wants so badly to be mentioned in the same breath as "Heathers" or "Election" that it's not even funny. Really, I mean it, this charred-black comedy is not even funny.
  18. Dragonball: Evolution
    Marvel at the fact that something this trippy made it to our local multiplex.
  19. Still Life
    The plot begs for a jolt of the Charlie Kaufmanesque — it's so pillow-smothered by tedium that even the uplift of magic realism in the film's final shot seems cold and stiff.
  20. Happythankyoumoreplease
    With very little modification, the relationship woes of the six chirpy young New Yorkers in this self-absorbed indie could be reworked into episodes of TV's "How I Met Your Mother."
  21. Whatever Works
    The fact that Allen wrote the script in the '70s explains something about why his newest movie feels so old.
  22. End of the Spear
    Atrociously scripted and edited.
  23. Hoodwinked!
    The result is a wacked kiddie Rashomon in which the different versions dovetail with a logic as impeccable as it is flat-out buggy. So who do we root for? Everyone and no one. Hoodwinked's most radical feature is that it's a ride without heroes.
    • 45 Metascore
    • 75 Critic Score
    Extraordinary Measures
    Hardly an extraordinary movie. In fact, it's hard to believe that this schmaltzy film found its home on the big screen rather than the Hallmark Channel. But I dare you not to feel something at its conclusion.
  25. Girl in Progress
    This inauthentic teen tale, with its cosmetically softened edges, serves neither the young people nor the Mendes fans for whom it might be intended.
  26. The Chamber
    The Chamber goes so far toward humanizing bigotry it ends up sentimentalizing it.
  27. Into the Blue
    Walker is supposed to be lured by the buried treasure, but the actor, wearing Brad Pitt's bristle cut, is like Pitt with his sexy appetite sucked out.
  28. The Weight of Water
    In the heaving cross-century swirl of the climax, ''Weight'' makes its point: Jealousy is timeless; Hurley is not.
  29. The Sum of All Fears
    A world-detonation thriller, at once urgent and lazy, that benefits from its connection to current events and also, by the end, suffers from it.
  30. How to Deal
    Moore makes Halley's awakening organic and touching. In an age when most teenagers are up to their eyeballs in postmodern consumer glitz, her movies seem radical not just in their retro squareness but in their unfashionable embrace of faith over ironic flippancy.
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