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. Old Joy
    It's in all the moments where little happens that Reichardt is most amazing, investing even a gas-station pit stop with perfect emotional pitch.
  2. The Black Dahlia
    The film is more than a little in love with the corruption it finds under the floorboards -- and that, of course, is perfectly dandy. I wouldn't trust a film noir that wasn't enthralled by decadence.
    • 51 Metascore
    • 67 Critic Score
    Everyone's Hero
    Everyone's Hero re-creates Depression-era America with surprisingly agreeable anachronistic panache, but a sassy ball and bat don't cut it as compelling cartoon characters, and the not-so-human humans never quite do either (Babe Ruth looks like Shrek).
  4. Gridiron Gang
    Parades itself as an ''honest'' message movie, a call for troubled kids to choose life over street nihilism, but the picture is so earnest that it leaves out the easy, old-school pleasure conjured by the last few years of Disney sports flicks (Invincible, Miracle, The Rookie).
  5. The Last Kiss
    An alarming male wallow passing as a fetching date-night dramedy.
    • 58 Metascore
    • 67 Critic Score
    Aurora Borealis
    Lewis, in particular, is a charmer; it's a loss that she never became an A-lister. And Jackson is, as always, earnestness itself. The movie would be a quality guilty-gloopy pleasure if it weren't so deadly overlong.
  7. Confetti
    Must viewing for the Bridezillas set, this winning pageant of gaudy bad taste is the work of some of the U.K.'s most popular comedy performers.
  8. Haven
    Terminally muddled crime drama.
  9. The U.S. vs. John Lennon
    To me, the most potent dimension of The U.S. vs. John Lennon is the way that it captures the contradictory romanticism of Lennon the radical.
  10. Keeping Mum
    She's no Mary Poppins: Maggie Smith is more like a cheery Angel of Death in the light black comedy Keeping Mum, one of those dutifully daft British diddles (complete with Rowan Atkinson as a vicar) that, except for the blunt sex talk, might have been constructed decades ago.
  11. Hollywoodland
    The chief frustration of this otherwise well-made, well-acted, well-heeled picture -- a movie classy in its artful modesty, with every detail of plot and period furnishings lovingly conceived, every lick of jazz-influenced score true to the times -- is that it is so very self-absorbedly graceful about something so very insular and...unremarkable.
    • 52 Metascore
    • 67 Critic Score
    The Protector
    It's silly, at times laughable, sure, but Jaa has a reckless, bone-cracking grace that transcends the film's triviality.
    • 19 Metascore
    • 16 Critic Score
    The Covenant
    Cobbled-together teenybopper tripe.
    • 53 Metascore
    • 83 Critic Score
    I Trust You to Kill Me
    Even when he looks like a complete dolt, Sutherland still comes off sympathetically, as a cool guy.
  15. SherryBaby
    Maggie Gyllenhaal is such a miracle of an actress that she makes you respond to the innocence of Sherry's desperate, selfish destruction.
  16. Man Push Cart
    This modern slice of neorealism has been made with a skill, and humanity, that suggests Bahrani may have a "Bicycle Thief" in him yet.
  17. Red Doors
    Writer-director Georgia Lee never leaves any doubt that the bonds of ethnic family devotion are a charm against any woe more serious than an engagement to the wrong white guy.
  18. Crank
    The movie is cranked up somewhere between stylish and proudly stupid, dusted with sunniness from Amy Smart (as Chev's sleepy girlfriend) -- and guaranteed to be out of your system by the time the lights come up.
    • 30 Metascore
    • 42 Critic Score
    Crossover
    Crossover skimps on court-level pyrotechnics (we get a game in the beginning and, of course, a big game at the end, and that's about it) in favor of dry urban melodrama.
  20. The Wicker Man
    Despite its logy, red-herring structure, the film has enough enigma and weirdness that it gradually stirs to life.
    • 84 Metascore
    • 91 Critic Score
    Lassie
    About as good as a Lassie movie can be.
  22. Looking for Kitty
    Burns pads around Gotham, yammering yesterday's op-eds about Disneyfication and ''classic New York holdouts.'' He somehow manages to sound fogyish AND immature.
  23. Mutual Appreciation
    If this is the sound of a new generation, then it may be the first generation cautious enough to embrace friendship as mightier than love.
  24. Riding Alone for Thousands of Miles
    Ken Takakura, a great rain-creased oak of an actor, delivers a quietly massive performance.
  25. This Film Is Not Yet Rated
    Has a bright, dishy spirit.
  26. Andy Warhol: A Documentary Film
    "Andy Warhol" makes you see that beneath the gargoyle hipster mask, he filled that emptiness with an art of transcendent sincerity.
  27. Beerfest
    Beerfest panders shamelessly to the 15-year-old in this 30-year-old... without assuming he is a 15-year-old. It's R-rated puerility for actual immature grown-ups.
  28. Idlewild
    Idlewild is a romp, a ticket to rowdy good times.
    • 56 Metascore
    • 75 Critic Score
    How to Eat Fried Worms
    Happily, after a cartoon opening-credits sequence that overdoes it on the barf, Worms goes light (but not too light) on the gore and the goo.
  30. Invincible
    Wahlberg, with shaggy hair and a pumped bod he wears more convincingly than any actor, plays Vince as a guy who truly doesn't expect to win. That makes his rib-bruising triumph all the more believable and touching.
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