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 2.2 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. Man of the Year
    Williams turns out to be exactly the wrong candidate for the job, a comedian singularly uninterested in letting anyone else get a word in, but with nothing to say.
    • 45 Metascore
    • 58 Critic Score
    The Marine
    A delectably bad '80s-style actioner.
  3. Deliver Us from Evil
    Brilliant and psychologically transfixing documentary.
    • 56 Metascore
    • 42 Critic Score
    Driving Lessons
    Linney is too sensitive and capable an actress to play a stock villain like this. That everyone in the movie dislikes her makes you dislike everyone in the movie.
  5. Infamous
    The added value that writer-director Douglas McGrath has in mind is gossip -- and a goggly interest in gossip becomes the glittering gimmick of Infamous.
  6. Nearing Grace
    Scott Sommer's late-1970s coming-of-age novel, with little of the vivid specificity of "Mean Creek," even though the two share a screenwriter and a producer.
  7. Tideland
    Dour, absurdist, gruesomely awful.
    • 42 Metascore
    • 50 Critic Score
    Alex Rider: Operation Stormbreaker
    Alex Rider: Operation Stormbreaker is "Agent Cody Banks" played British and kinda straight -- that is, as straight as you can when your villain, who dispatches foes with a giant jellyfish, is played by a toothpick-chomping Mickey Rourke in purple eye shadow.
  9. So Much So Fast
    So Much So Fast (spanning five years) elegantly presents both a critique and a celebration of American optimism.
  10. The Departed
    The very title The Departed suggests a James Joycean take on Irish-Catholic sentiment when, of course, this story is anything but: It's Scorsesean, and he's in full bloom.
  11. Little Children
    A jolting, artfully made drama set in and around a suburban playground somewhere between "American Beauty" and "In the Bedroom" on America's psychic highway.
  12. Employee of the Month
    The results in Employee of the Month are toothless.
    • 30 Metascore
    • 25 Critic Score
    The Texas Chainsaw Massacre: The Beginning
    Unlike "Hostel" or "Wolf Creek," TCM:B is rank and depressing.
  14. 49 Up
    49 Up is a precious document, and must viewing.
  15. Shortbus
    Shortbus is chipper, it's fresh, it emits a distinct musk of controversy. I'll take the longbus.
    • 64 Metascore
    • 67 Critic Score
    Wrestling with Angels: Playwright Tony Kushner
    Wrestling with Angels could use some brouhaha: It's a bit too much of a pleasant air kiss from a fan, and doesn't engage inquisitively enough with Kushner's often controversial and very political ideas.
  17. The Queen
    Helen Mirren's allure lies not in finding what's regal in every woman she plays, but in finding what's womanly in every royal.
  18. The Guardian
    The movie represents an earnest effort to compensate for all the love the media has shown to firefighters and other land-based first responders in recent years with little thought to the Coast Guard; the drama also crashes on wave upon wave of clichés.
    • 49 Metascore
    • 58 Critic Score
    Open Season
    The overfamiliar Open Season feels like just another CG 'toon in our 'toon-glutted times.
  20. School for Scoundrels
    Director Todd Phillips tries for the kind of frat slaphappiness he applied so successfully to "Old School," but these boys are less scoundrels than individual salesmen for the brands of Heder and Thornton.
  21. A Guide to Recognizing Your Saints
    This gallantly imperfect indie pops with attitude.
  22. The Last King of Scotland
    Drawing on a documentary visual style he deftly employed in "One Day in September" and "Touching the Void," director Kevin Macdonald uses McAvoy's boyishness to treat Garrigan's apolitical foolishness as yet another damn mess in one African country's hell.
  23. All the King's Men
    Writer-director Steven Zaillian's version stultifies, especially when compared with Robert Rossen's fiery 1949 Oscar winner. How could such dullness defeat the retelling, when Willie Stark is one of the most vivid characters in 20th-century American popular culture?
    • 47 Metascore
    • 42 Critic Score
    Flyboys
    This is a lost opportunity on an epic scale. The actors are so styled and the dogfights so drippy with CG that, as a period piece, the movie almost looks like it's set in the future.
    • 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.
  26. Feast
    Feast isn't quite demented enough to reach Raimi-an heights, but Gulager uses parts of the monster-movie buffalo even the buffalo didn't know existed.
  27. Jesus Camp
    As a documentary, Jesus Camp could lose its haunted-house score and contrapuntal Air America refrains and still deliver its message: that, here and elsewhere, fundamentalism is no longer content with a separate peace. It wants the meat.
    • 69 Metascore
    • 75 Critic Score
    American Hardcore
    Illuminating nostalgia, stuffed with all the right tattooed talking heads (like Black Flag's Henry Rollins), plus grim-looking concert footage of wailing skinny guys.
  29. The Science of Sleep
    The Science of Sleep is like a weird dream that tugs at the memory throughout the day with its intriguing, misshapen pieces.
  30. Renaissance
    Connoisseurs of digital animation, graphic novels, and the history of dystopian art will have plenty to discuss about Christian Volckman's visually striking, technically impressive black-and-white animated feature Renaissance…But no one will be talking about the movie's banal plot, the trite dialogue, or any of the indistinguishable characters who offer a bleak futuristic vision of cinema that's all style, no soul.
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