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. Lost in Space
    Is any of this, you know, fun? Just barely. But I'm sure I would have loved it at 6.
  2. 360
    360 has a circular structure that's deftly pleasing, though the human drama is just facile enough to make it seem, in the end, a little too much like connect the dots played with people.
    • 43 Metascore
    • 50 Critic Score
    The Three Musketeers
    It’s packed with swordplay, fast getaways, and heaving bosoms.
  4. Freedomland
    Moore doesn't just act. She goes on the attack, embracing the kind of lower-rung-of-the-middle-class role that actresses from Jodie Foster to Meryl Streep have long savored. Her performance is an achievement of sorts, yet, like the movie itself, it's also strenuous and joyless.
  5. Final Destination 3
    What makes all of this ''fun,'' instead of dark or threatening, is that the victim was an idiot who leered at the class teases with horny glee.
  6. Where the Crawdads Sing
    Director Olivia Newman (First Match) bathes the story in so many broad, creaky tropes and odd tonal shifts that nothing ever feels real for a moment.
  7. Dante's Peak
    It hardly helps, of course, to have no characters to root for. What is it about Pierce Brosnan? He's got dimples, grace, charm; he's not a movie star, exactly -- he looks as if he should be hosting something.
  8. Meet Dave
    this unfairly maligned sci-fi comedy testifies that Eddie Murphy still has the gift of surprise.
  9. Stolen
    The longest stretch of logical plotting lasts about forty seconds, and the deep-rooted silliness makes it hard to take anything in the film seriously. But at least it has the decency never to ask us to.
    • 43 Metascore
    • 42 Reviewed by
      Ty Burr
    Needful Things
    By now, we’ve come to expect certain things in movies adapted from Stephen King novels: brooding misanthropy, a pound or two of viscera, and — perhaps most horrifying of all — Hollywood actors delivering their lines with bad Maine accents. Needful Things delivers on said expectations, no more, no less.
  11. Love in the Time of Cholera
    As for the splendid Spaniard Javier Bardem, now knocking socks off in "No Country for Old Men," his lot is worst of all. He's miscast as the romantic Florentino.
  12. Meet Joe Black
    Sometimes clever and enjoyable, even touching, yet too often the film makes you feel as if you're in Sunday school.
  13. The Young Unknowns
    There's a shocking, casual quality to the self-destructive narcissism of the pretty, petty kids squandering their lives in the L.A. sunshine of The Young Unknowns.
  14. The Very Thought of You
    Features the dullest, least lifelike collection of pals this side of "Eyes Wide Shut."
    • Entertainment Weekly
  15. For Love of the Game
    Costner's determination to avoid change keeps this baseball movie at a low line drive when it might have knocked one into the bleachers.
  16. Twentynine Palms
    This is one of those films in which the Act of Driving becomes a 10-minute statement of high emptiness; Dumont even manages to make sex in the desert boring.
  17. American Wedding
    The third helping of ''American Pie'' offers little more than crumbs. Half the franchise's core cast (including Mena Suvari, Chris Klein, and Tara Reid) chose to skip the big fat geek wedding.
  18. Cirque du Freak: The Vampire's Assistant
    Subplots go nowhere, and characters -- many played by well-known actors -- barely get screen time. Willem Dafoe, Salma Hayek, and Jane Krakowski are among those who are there and gone.
  19. The Uninvited
    Horror standbys like mangled corpses and stone-faced children pop up regularly, but sibling directors Charles and Thomas Guard haven't quite nailed the genre's rhythms.
  20. Basic Instinct
    Beneath its heavy-breathing fripperies, though, Basic Instinct is mechanical and routine, a muddle of Hitchcockian red herrings and standard cop-thriller ballistics.
  21. The Aftermath
    Sadly, director James Kent’s sappy and utterly unconvincing new film The Aftermath shows that even the most foolproof ideas wither in the face of turgid, overripe melodrama.
    • 43 Metascore
    • 58 Critic Score
    Unaccompanied Minors
    Feig does wring out a few fleeting fun/heartfelt moments from the minors, and the movie's Christmas treacle is smoother than "Santa Clause 3's." But anyone old enough to go see this without a parent or guardian will have seen it all before.
  23. True Colors
    The film, which has an overly complicated script (by Kevin Wade), is like Wall Street minus Gordon Gekko. It takes the fun out of back-room political sleaziness — and out of political integrity, too.
  24. Wonderland
    When we finally do see what happened, it's a genuine shock, a nightmare vision of a hedonist who forged his own hell.
  25. Good Deeds
    Perry holds back on the finger-wagging, eye-bulging tantrums. There were moments when I was grateful for that. There were others, like the kissy scenes between Perry and Newton, when I began to miss them.
  26. In Dubious Battle
    For all its noble intentions, though, the movie struggles to transcend broad outlines: Its characters are strictly symbols, timeworn archetypes of good and evil as threadbare and familiar as the artfully faded calicos and denim on their backs.
  27. Death Race
    Soft sexual and racial jabs replace the more daring political commentary of the original, a crude classic from the Roger Corman factory.
  28. Not Easily Broken
    Laughter through tears is director Bill Duke's M.O., and he hits the bull's-eye of that modest target.
  29. Machine Gun Preacher
    The title, Machine Gun Preacher, makes it sound like a piece of grindhouse kitsch - and by the time it's over, you'll be thinking, ''If only!''
    • 43 Metascore
    • 25 Critic Score
    Instinct
    Never mind that the film's portrayal of the mentally ill is on a par with "There's Something About Mary" -- the clumsy moral that we were all better off as hunters and gatherers couldn't be sillier.
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