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. Martin Lawrence Live: Runteldat
    Lawrence makes you believe in the character you're watching. He does an amazing little piece of acting.
  2. Full Frontal
    Even by Soderbergh's standards of serious playfulness/playful seriousness, Full Frontal is a tricky novelty item: The director himself has variously described it as an ''experiment,'' an ''exercise,'' and a ''sketch.''
  3. One Last Kiss
    A crowd-pleaser in the deepest sense, mixes heartbreak and happiness together until you don't even want to see them apart.
  4. The Master of Disguise
    An awful, stillborn comedy assembled out of rusty spare parts from secret agent movies and run-of-the-mill ''Saturday Night Live'' skits.
  5. Signs
    It's a high-octane doomsday vision built almost entirely around our sense of anticipation, and that's both its strength and its weakness.
  6. Merci Pour Le Chocolat
    Huppert has never been this cheerful, or lethal, and the movie itself is like Hitchcock's ''Rebecca'' reshot for House & Garden, with all the ghosts pulled out of the closet.
  7. The Kid Stays in the Picture
    A candy store for film buffs.
  8. Lan Yu
    At times too restrained, yet there are moments it captures the erotics of intimacy in a way that makes most American love stories look downright unfree.
  9. I Am Trying to Break Your Heart
    A modest vérité portrait of Wilco, the engagingly melodious, deeply unglam alt-folk rockers.
  10. The Country Bears
    It's sort of an ursine ''The Last Waltz,'' with more costumes and no direction from Martin Scorsese.
  11. Who Is Cletis Tout?
    Allen is no more convincing than the writer-director, Chris Ver Wiel, who strings together faux-QT, faux-Elmore Leonard clichés like so many necklace beads and pretends that's the same thing as making a movie.
  12. Austin Powers in Goldmember
    Mike Myers and Austin Powers may stick to their old Beatle boots, but they've both come a long way, luvvy. For proof, just look at all the A-list celebrities-I-won't-mention happy to crash the party.
  13. Happy Times
    Had O. Henry set his stories in China, he might have come up with Happy Times, a comedy for which the adjective ''bittersweet'' could have been invented.
  14. K-19: The Widowmaker
    What's really needed is a story with some sizzle, but Bigelow, in K-19, can't seem to decide whether she's making a shoot-the-works underwater rouser, like ''U-571'' or ''Crimson Tide,'' or a lofty historical message movie that hits us with the breaking news that the arms race was, in every sense, a poisonous game.
  15. Stuart Little 2
    Very much a kiddie ride, Stuart Little 2 is lively without being hyperactive -- it's a bouncy mouse caper with a wee bit of soul.
  16. Tadpole
    Where ''Rushmore'' surprises and delights with its spiky depiction of sprawling American idiosyncrasy, Tadpole's more urbane, less complicated charms are specifically made in New York City.
  17. Eight Legged Freaks
    Like many of the worst pop-referential parodies of the post-''Scream'' era, this one stalls on laughs once the big joke has been established.
  18. All About Lily Chou-Chou
    Gorgeously shot tableaux of random adolescent brutality are interrupted by flashes of computer garble and chat-room talk, backed by ''Lily's'' music, with its blend of Debussy-like arpeggios and Enya-like sighing.
  19. My Wife Is an Actress
    With every detail in this clever peekaboo, the sly filmmaker dangles the possibility that fiction is fact and that Yvan and Charlotte are real -- or at least as real as the movies.
  20. The Crocodile Hunter: Collision Course
    The mad genius of this cheerily bonkers feature is the integration of a documentary-style safari into an outlandish fiction involving a fancy-pants CIA pursuit of a downed spy satellite, and a shotgun-wielding outback widow.
  21. Tosca
    Conveys the heaving passion of Puccini's famous love-jealousy-murder-suicide fandango with great cinematic innovation.
  22. Sex and Lucia
    A truly titillating and truly convoluted tale of l'amour fou. Perhaps the American remake could be titled ''Hot Fudge Ripple Sky.''
  23. Never Again
    Schaeffer's howler of a romantic comedy, which presents itself as a valentine to Clayburgh even as it keeps dreaming up fresh ways to humiliate her.
  24. Halloween: Resurrection
    Halloween: Resurrection comes closer to comatainment.
  25. Road to Perdition
    There's much that's simplistically grand, worthy, and fine in Perdition. If I yearn for less measured filmmaking that cries out with more reckless despair, it's because I think hell on earth is a meaner, much more interesting, and far less tidy cinematic place than Mendes trusts his audience to handle.
  26. Read My Lips
    Expertly sinister, office-as-devil's-playground French thriller.
  27. Like Mike
    Like Mike has the synthetically wrapped pseudo-charm of a perfunctory ''Flubber'' sequel.
  28. Men in Black II
    Some motion pictures portray ultimate passion; others create ultimate thrills. Men in Black II achieves ultimate insignificance -- it's the sci-fi comedy spectacle as Whiffle-Ball epic.
  29. The Powerpuff Girls
    The three kindergarteners make up for their lack of irony with laser-power eyes, radical post-post-postfeminist blithe confidence, and some of the coolest retro-futuristic animation style this side of Gerald McBoing-Boing.
  30. Lovely & Amazing
    This trio is like a looser, funnier version of the family of wrecks in Woody Allen's ''Interiors.''
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