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. In the Cut
    Ryan radiates neither desire nor terror. She's freeze-dried in a world of lifelessly abstract feminine fear, and so is the movie.
  2. Morning Sun
    Using newsreel footage, clips of artistic propaganda (e.g., joyful proletarian farm ballets), and interviews with survivors, the movie draws us into the annihilating fervor of an era in which purge followed upon purge, in escalating waves of terror and control.
  3. Sylvia
    This is the richest role Paltrow has had since ''Shakespeare in Love,'' and she rises to the challenge. She digs deep into Plath's mercurial nature, giving us a Sylvia who's fiercely independent and alive yet burdened with demons of insecurity that bubble up in a rage.
  4. Veronica Guerin
    Her death was shocking; this well-made telling of her life is inspiring.
  5. Runaway Jury
    The already heavy-footed clomp of Grisham's declamatory storytelling style has been given an extra-thick-soled, wing-tipped, liberal-leaning, reality-tampering kick thanks to a screenplay credited to four writers.
  6. The Texas Chainsaw Massacre
    The gruesomely unnecessary remake of The Texas Chainsaw Massacre is such a smorgasbord of slimy grunge that to call the movie gross wouldn't do it justice -- it's downright sticky.
  7. Returner
    With his tousled mane and wispy facial hair, Asian pop star/ Prada model Kaneshiro suggests a Japanese Johnny Depp, but even his charisma can't carry Returner through its interminable longueurs. Blame it on Yamazaki.
  8. Pieces of April
    The quaint racial blinders are really on the eyes of the filmmaker, Peter Hedges, who shoves his characters into the narrowest of sitcom slots and seals them there.
  9. Dopamine
    A melancholy romance that has the distinction of being the first film set among San Francisco dotcommers that knows it's about the end of the boom.
  10. The Flower of Evil
    The discreet stink of the bourgeoisie perfumes the wonderfully mordant, dry-eyed family saga, The Flower of Evil.
  11. 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.
  12. Intolerable Cruelty
    With Intolerable Cruelty, though, something scares me: I cannot detect a heartbeat of feeling, no matter how close I press a stethoscope against the star machinery of George Clooney and Catherine Zeta-Jones.
  13. House of the Dead
    To properly convey the jaw-dropping shoddiness of this videogame-based ''horror'' ''movie,'' one must approach what scientists call Absolute Stupid, a state previously thought to exist only under highly controlled laboratory conditions or at the highest levels of government.
  14. Kill Bill: Vol. 1
    The film may be bloody, but it's also bloody gorgeous: a grandly fetishized epic of cinematic aggression. It's a tale of vengeance that hinges on Tarantino's love of ferocity as spectacle -- his immersion in action and exploitation, his addiction to the jazzy catharsis of junk-film kicks.
  15. Bus 174
    Although it shares a bitter interest in slum desperation with last year's Brazilian-underbelly docudrama ''City of God,'' Bus 174 pulls ahead, I think, by not confusing cinematic pizzazz with the content of misery.
  16. Mystic River
    Eastwood directs Mystic River with an invigorated grace and gravitas. This is a true American beauty of a movie, a tale of men and their bonds told by and for adults who value the old-fashioned Hollywood-studio notion of narrative.
  17. The Event
    Aggressively drab and granular, the movie feels like a late-'80s AIDS passion play given an ill-fitting post-Sept. 11 makeover.
  18. Out of Time
    Entertainingly deft sleight-of-hand thriller.
  19. The Station Agent
    That his (writer-director Tom McCarthy) strange, often funny film is so well-disciplined and deadpan refreshing is an achievement.
  20. Wonderland
    When we finally do see what happened, it's a genuine shock, a nightmare vision of a hedonist who forged his own hell.
  21. School of Rock
    The School of Rock was made by gifted veterans of the American indie scene, but it's still the most unlikely great movie of the year.
  22. My Life Without Me
    This hankie-yanker is an emotional cheat.
  23. Prey for Rock & Roll
    An ingratiatingly scrappy little movie. It's been cobbled together out of a great many conventional crises (drugs, abusive boyfriends, heartless girlfriends, a looming record deal), yet there's a tough and appealing vitality to the way that it embraces the petty ego-tripping and party-down squalor of the rock lifestyle and stands apart from it at the same time.
  24. Duplex
    Runs into construction problems, maybe from too many foremen. DeVito favors pushy slapstick; Stiller prefers hotshot sarcasm. Barrymore's comic talents are wasted; she's there for decoration.
  25. The Rundown
    The Rundown is actually a lot of fun, mostly because The Rock, simply by standing there and being The Rock, cancels out Scott entirely.
  26. Under the Tuscan Sun
    The author was able to compensate for the book's plotlessness by contemplating other people leading full lives quite as important as hers. In Wells' movie adaptation, even the birth of a friend's baby becomes all about Frances and the play of emotions on Lane's busy, beautiful face.
  27. Bubba Ho-tep
    Don Coscarelli, writer-director of the logy, fatuous Bubba Ho-Tep, is trying to will a cult movie into existence -- which, of course, never works.
  28. Luther
    Rising above the throng is the great wreck of Sir Peter Ustinov, who, as the canny, saucy German Prince Frederick, distinguishes both himself and the movie.
  29. 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.
  30. Cold Creek Manor
    The journey, however, is a hollow one, since Quaid and Stone, for all their efforts, never really do seem married. Perhaps that's because Stone, with her dry-ice charisma, does everything that an actress should except connect to whomever she happens to be facing on screen.
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