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. Baby Boy
    What holds the movie together, however, is Gibson's broodingly responsive performance.
  2. Godzilla 2000
    Lands on an imaginative fault line somewhere between tackiness and awe.
  3. Willard
    The new version is actually better. It's still a fairly ham-handed revenge-of-the-nerd horror fable, but you don't go to a movie like Willard for subtlety. You go to be skeeved out by rats, rats, and more rats, and I'm tempted to say that Willard does a fairly rat-tastic job of it.
    • 66 Metascore
    • 75 Reviewed by
      Ty Burr
    Colors
    Sean Penn and Robert Duvall basically played the Two Faces of Dennis: hyper young firebrand and cautious older lion.
    • Entertainment Weekly
  5. The Hunt for Red October
    Colorful and exciting, yet unless you're a young moviegoer, nothing in it takes you by complete surprise. (It's less a nail-biter than a chin-stroker.)
    • 65 Metascore
    • 75 Critic Score
    La Femme Nikita
    It's like "The Terminator" as reimagined by the editors of French Vogue.
  7. Apt Pupil
    It's scariest as a parable about the evil that exists in the hearts of adolescent boys.
  8. Apollo 13
    Tom Hanks, Bill Paxton, and Kevin Bacon try to get inside the skins of these space-age pilot jocks, but the roles, as written, don't give them enough to work with.
  9. Rounders
    Damon is a magical actor. His mind, as sharp and focused as a laser, beams out of the face of a vivacious choirboy, and, in nearly every scene, he invites you to share the jet-propelled pleasure of his precocious agility.
  10. Stoked: The Rise and Fall of Gator
    Had ''Boogie Nights'' been the tale of a California dreamer with a really long skateboard, the movie's delirious first half would have been ''Dogtown and Z-Boys,'' and its downbeat conclusion would be Stoked.
  11. Sugar & Spice
    Fun in its raunchy unwieldiness.
  12. Smoke
    The best vignette, at the very end of the film, is the story Auster originally wrote for a newspaper as a Christmas piece, the one that inspired Wang to make Smoke in the first place. It's the one you'll want to inhale.
  13. Heist
    If it's not up to the cups-and-balls elegance of previous Mamet movies like ''The Spanish Prisoner'' and ''House of Games,'' if it piles on more psychological fake-outs than is safe in a setup this size -- well, at least it's got that talk, that language, that thing Mamet does that is at this point as identifiable as the cadences of the Bard.
  14. Demonlover
    Assayas can't resist turning Demonlover into an overcalculatedly irrational rabbit-hole-to-the-dark-side thriller. The movie morphs into a ''dream,'' all right, but I confess that all I wanted to do was wake up from it and return to the slithery intrigue of corporate depravity.
    • 58 Metascore
    • 75 Reviewed by
      Ty Burr
    You've Got Mail
    A perfectly enjoyable star vehicle that does exactly what it sets out to do. [7 May 1999, p.66]
    • Entertainment Weekly
  16. The End of the Affair
    The affair itself, in its genteel way, does catch fire, but it's the end of the affair that needs to move us to rapture, and the movie, instead, just drifts away.
  17. Fellini: I'm a Born Liar
    It's a messy, entertaining documentary rooted in -- though not limited to -- the iconically indulgent years of Fellini's later career.
  18. Bones
    Snoop invests snarling meanness with as much authority as Clint Eastwood used to. As an actor, does this Dogg know any more tricks? At this point, he may not have to.
  19. The War Zone
    Roth, there's no denying, creates considerable suspense out of our desire to confront the forbidden.
  20. Butterfly Tongues
    Diverges to become something quite powerfully unnerving and guilt-ridden.
  21. Abandon
    Sometimes, typecasting works: Holmes and Bratt settle comfortably into their roles, and the movie proves a competently made, mildly diverting collegiate thriller -- at least until its all-too-predictable ''twist'' ending.
  22. Humanité
    It ought to be seen, because it's a work of moral and spiritual mystery.
  23. The Emperor's Club
    A traditionally dressed, old-fashioned drama, starring Kevin Kline in the Robin Williams role -- is as much about the moral development of the adult as about his boys'. More so, maybe.
  24. Good Boy!
    Little is asked of talking-animal movies, save charm, heart, and at least one scene where said animal wears a lampshade. Good Boy! has all those things, plus a winning story line.
  25. L'Auberge Espagnole
    The atmosphere of gentle communal chaos is authentic enough to become the movie's dramatic center.
  26. The Tic Code
    Badly lit and at times, awkwardly inspirational, yet there's real feeling in it, especially when the movie suggests that Tourette's syndrome is every bit as pure an expression of the spirit as it is a ''disorder.''
  27. Bossa Nova
    The air smells sweet and there's a thrumming beat in Bossa Nova.
  28. The Gift
    It's got the pleasing proportions of a stocking stuffed with agreeable little treats in the absence of an exciting big surprise.
  29. Nowhere in Africa
    Audience empathy for the displaced Redlichs, coupled with the filmmaker's proffered charms of wise natives and their mysterious rituals, goes a long way toward making this lyrical travelogue a crowd pleaser.
  30. Johnny English
    The hilarious Malkovich, coiffed in an artful pageboy and savoring a fruity French accent, would overpower the competition on sheer thespian madness.
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