Entertainment Weekly's Scores

For 5,467 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 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Two Girls and a Guy
Lowest review score: 0 The Hottest State
Score distribution:
5,467 movie reviews
  1. The Net is an efficient, workmanlike thriller that, at its best, does a canny job of exploiting the more fanciful edges of computer-age dread.
  2. Reveling in mess and homegrown multiracial mayhem, Death at a Funeral finds a new lease on life.
  3. Although the film's frenetic rhythm is reminiscent of an "Indiana Jones" picture, visually Schumacher directs it like a musical, turning each image into eye candy, weaving one lush set piece into the next, as if he were the Vincente Minnelli of blockbusters.
    • 51 Metascore
    • 67 Critic Score
    If British writer-director Jez Butterworth had let his sophomore picture get as dirty as Kidman's game recklessness invited -- she started this before ''Moulin Rouge'' and ''The Others'' -- he would have served up a tasty piece of cake.
  4. Think Like a Man is so busy tracking courtship as if it were a science project that the bite-size love stories lack spontaneity.
  5. The two stars are like cool kids pretending to be tortured poets pretending to be cool. Neither can match the screen presence — the shameless self-infatuated ebullience — of Matthew Lillard, who does a wickedly grotesque turn as Brock Hudson, a kind of goggle-eyed Puck manqué in the film's dead-on send-up of "The Real World."
    • 51 Metascore
    • 67 Critic Score
    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).
  6. The villainous Polluter-in-Chief is eloquently played by Robert Knepper, familiarly loathsome as T-Bag on Fox's "Prison Break." And when Knepper and Statham get together, there's a fine showdown of grimaces.
  7. A little of this sort of thing goes a long way, but no one does it better than Myers.
  8. That Griffin tells some of the most intolerant jokes since Andrew Dice Clay should hardly obscure his talent, even if it does tarnish it.
  9. Bears the weight of too many genres jostling for screen time.
  10. The hilarious Malkovich, coiffed in an artful pageboy and savoring a fruity French accent, would overpower the competition on sheer thespian madness.
  11. Has a loosey-goosey, what-the-hell spirit that's easy and fun to hook into.
  12. Even Helen Mirren, the Queen Midas of class acting, can’t fix this well-intentioned miss.
  13. The director, Tom Kalin, stages acid duels, but he should have provided more psychological structure. Though Moore, a great actress, turns fury into verbal music, we're never quite sure what's driving her.
  14. Natalie Portman demonstrates tour de force weeping in the back of a taxi as an American searching for her roots in Israel.
  15. I'm as touched and charmed by its failures as I am transfixed, at times, by its successful inventiveness and audacity.
  16. Where the movie falters is in sustaining the tricky balance between pastoral life lessons and creepy suspense.
  17. A hit-or-miss affair that starts out wobbly and then gathers comic momentum.
  18. Scenes between YSL and rock-steady lover Pierre Bergé (Guillaume Gallienne) spark, but the film stays too reverent to truly turn heads.
  19. Fails to recapture the elemental magic of Star Wars, and that, ironically, is because it represents the coarse culmination of the original film's adrenaline aesthetic.
  20. The movie is a rigged game of clichés and platitudes, but fans will be pleased by additional proof that Latifah is a lovable Queen but not a pampered princess.
  21. A majority oriented movie that assumes sophisticated familiarity with a sexual minority.
  22. Acting doesn't get more personal, or much greater.
  23. It's scariest as a parable about the evil that exists in the hearts of adolescent boys.
  24. The hoofbeats are seismic, the music is like hot cheese, and the sandy vistas thrill appropriately: It's a perfectly rousing Ben-Her of a centerpiece.
  25. The words belong to Mr. Shakespeare. All else in this Macbeth is the pleasurably fevered invention of brash Australian director Geoffrey Wright.
  26. What a fun-dumb relief! In the isolationist Expendables world, all foreigners are bad news. All buddy bonding is done with a wink. All pretenses of art are checked at the door. Someone even says, ''I'll be back.'' (Guess who?)
  27. A little bit obsessed with replication.
    • 51 Metascore
    • 75 Critic Score
    Surprisingly good, and surprisingly gruesome, fun.

Top Trailers