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. Strange Days
    If anything, Strange Days belongs to the rotters hovering around its edges: Michael Wincott, a vision of Drano-throated malevolence; Tom Sizemore, who, as Lenny’s bikerish pal, suggests Judd Nelson if he’d let the corruption ooze a little further out of his pores; and the wonderfully weaselly Richard Edson as an underground software techie.
  2. American Teen
    The players are timelessly familiar in American Teen, too. But filmmaker Nanette Burstein tells their stories with a distinctly 21st-century pop and audacity.
  3. Carlito's Way
    Carlito’s Way is perfectly okay entertainment, yet this 2-hour-and-21-minute movie never convinced me it wouldn’t have been every bit as good (if not better) as a lean and mean Miami Vice episode.
  4. Byzantium
    The best thing in the movie is Arterton's sultry, claw-baring turn, but mostly it's a rudderless riff on "Let the Right One In."
  5. The Edge
    Tamahori proves that he can shape a studio picture effectively to his specs; his action sense is as personal as his screenwriter’s. As for Hopkins and Baldwin, the well-matched actors grab their parts with disciplined ferocity.
    • 66 Metascore
    • 75 Critic Score
    Jackass Number Two
    Jackass Number Two is not as original, aberrantly beautiful, unrepetitious, or good as Jackass Number One, yet it will still double a lot of people over with big laughs and grossed-out disbelief.
  7. Margot at the Wedding
    Which brings us back to Kidman, who really IS sensational here.
  8. Crimson Tide
    Directed by Tony Scott, Crimson Tide is the kind of sumptuously exciting undersea thriller that moves forward in quick, propulsive waves.
  9. White Noise
    Compared to the tender groundedness of Baumbach's finest films, like The Squid and the Whale and Marriage Story, the scampering leaps and feints of his script here come off as deliberately arch, even artificial. The movie's final scene, though, without spoiling too much, is also easily its best.
  10. Shall We Dance?
    Even when the catharsis we yearn for arrives, it's tinged with restraint. But then, the true romance in Shall We Dance? is more than personal. It's the spectacle of a nation learning to dance with itself.
  11. Chip 'n Dale: Rescue Rangers
    There's a secret blandness behind the frantic insider gags.
  12. Scream
    A deft, funny, shrewdly unsettling tribute to such slasher-exploitation thrillers as "Terror Train," "New Year's Evil," and Craven's own "A Nightmare on Elm Street."
  13. Swan Song
    Without much dramatic tension beyond the will-he-or-won't-he of Cameron's final choice, the film feels oddly inert, a melancholic iPhone ad stretched to feature-length.
  14. Kick-Ass
    An enjoyably supercharged and ultraviolent teen-rebel comic-book fantasy that might be described -- in spirit, at least -- as reality-based.
    • 66 Metascore
    • 50 Critic Score
    The Jazz Singer
    The plot is powerful because it’s so absurdly melodramatic.
  16. King of New York
    Director Abel Ferrara stages the violence in electrifying spasms, and Walken, with his undead complexion, his jittery line readings, and his stare of cold rage, mesmerizes the camera.
  17. A Soldier's Daughter Never Cries
    A Soldier's Daughter Never Cries is suffused with a rarefied emotional glow, and that's something contemporary audiences may be almost desperate to respond to. Yet the movie is also tentative, rambling, and maddeningly shapeless.
  18. Mean Girls
    A vinegary fable with a Splenda aftertaste -- is a harbinger of hope not only for future feminist comedies of any grit but also for ''SNL''-staffed feature films that don't disproportionately suck.
  19. Transamerica
    The unintended effect of all the melodramatic complications in Transamerica is, oddly, to distract attention from an understanding of exactly what that courage really costs.
  20. The Tailor of Panama
    In a world full of off the rack thrillers, it's fine boutique quality.
  21. Moulin Rouge!
    The result is a musical that substitutes irony for pop passion, misanthropic disjointedness for lyrical flow.
  22. Philadelphia
    But Philadelphia turns out to be a scattershot liberal message movie, one that ties itself in knots trying to render its subject matter acceptable to a mass audience.
  23. The Good Dinosaur
    While the story attempts the moves that a Pixar film typically makes—nonverbal storytelling, death, a bittersweet ending—most of The Good Dinosaur’s punches land soft, made worse by the disconnect that exists between the overly cartoonish style of the characters and the photorealistic landscapes.
  24. Strange Powers: Stephin Merritt and the Magnetic Fields
    The affectionate, bemused, structurally unkempt portrait is at its best capturing Merritt's close collaboration with his longtime friend and bandmate Claudia Gonson.
  25. Miami Vice
    As entertaining as some of it is, is so cool that it's almost too cool. It takes the sin, and much of the juice, out of vice.
  26. Breaking
    A showcase mostly for Boyega and Beharie, whose tense, delicate interplay makes up much of the movie's emotional core.
  27. Paris, je t'aime
    Anthology films usually work better in theory than execution, but this feature parade of shorts is a blithe, worldly, and enchanting exception.
  28. Master
    Diallo, an inspired stylist with bold things to say, strikes the balance between thrills and ills in a way that's wholly her own.
  29. La Vie en Rose
    Hurtling and impassioned, driven by some of the greatest popular music ever recorded, this wildly overripe and unkempt biopic is a true experience.
  30. The Hobbit: The Desolation of Smaug
    Bilbo, as played by Freeman, suggests a sly-dog Dana Carvey without irony, and he is certainly overmatched, but that doesn't mean he's outplayed. Desolation is now his business.
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