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 2.1 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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    • 39 Metascore
    • 67 Critic Score
    3 Ninjas Kick Back
    Filled with martial-arts action, bathroom humor, and slapstick, 3 Ninjas Kick Back even has a politically correct kicker: The champion ninja is a girl.
  2. Maleficent: Mistress of Evil
    For kids maybe this is still magical; grownups, though, will waste many long, busily bedazzled minutes wondering why the powers that were able to bring Pfeiffer and Jolie together on screen couldn’t do at least marginally better by them both, and give them parts to truly sink their movie-star teeth into.
    • 78 Metascore
    • 67 Critic Score
    Enchanted April
    By the end of Enchanted April, there isn’t a single character—not even the spiky flapper—who retains much of an edge. That’s what’s appealing about the movie (everyone walks away happy) and also forgettable (everyone walks away mush).
  4. Maverick
    True deft wit is just plum missing from this good-natured, flat-footed, eager-to- please, tee-hee Western.
  5. Cyrano de Bergerac
    Director Jean-Paul Rappeneau makes the mistake of treating Cyrano de Bergerac as though it were some lost Shakespearean tragedy instead of the wonderfully gimmicky (and familiar) tearjerker it is.
  6. Nine Months
    If there were a scale for measuring how much of a movie’s substance was pure plastic, Nine Months, the new maternity comedy directed by Chris Columbus (Mrs. Doubtfire), would surely register dangerously high polymer levels.
    • 44 Metascore
    • 67 Reviewed by
      Ty Burr
    Barney's Great Adventure
    Barney’s Great Adventure is insipid, but it’s also harmless, and, besides, why shouldn’t toddlers enjoy the pleasures of their own kitsch?
  8. 22 July
    Taken together, the film is kaleidoscopic, sober, and also a bit glib. 22 July is exceptionally choreographed and tough to sit through, but it also leaves an uneasy, bitter aftertaste knowing that the movie is probably exactly the kind of continued attention a deranged narcissist like Breivik would have wanted.
  9. Mighty Morphin Power Rangers: The Movie
    Mighty Morphin Power Rangers is an utterly depersonalized thrill machine, yet it’s exactly the film’s go-go relentlessness that is likely to make boys and girls eat it up.
  10. White Men Can't Jump
    Perhaps the first sports movie ever made in which the characters talked as good a game as they played.
  11. The Fourth War
    The Fourth War is an old-soldiers-never-die movie — an ironic elegy — and though much of the story is contrived and second-rate, Scheider gives a richly felt performance.
  12. The Aeronauts
    Jones reportedly did nearly all the stunts herself in a real balloon, and she makes the stakes feel fretfully real despite the dreamy, almost painterly quality of George Steel’s cinematography. By the time the story comes back to earth, though, that urgency is largely gone with the wind, and the film returns to what it was: a whimsical, oddly airless curiosity.
  13. Destroyer
    Kidman, to her credit, goes all in, but it’s hard to ignore the neon sign over her head that keeps flashing “See? I’m Acting!”
  14. The Oath
    The film wrongfully substitutes abrupt violence for anything truly provocative, squandering the promise of its early scenes with a disjointed third act and pat ending that renders its satire toothless.
  15. King of Thieves
    Thieves feels oddly joyless — a mostly rote perp walk through the mechanics of unarmed robbery, sprinkled with occasional slapped-on signifiers of fun (wild camera angles, snazzy soundtrack, smash-cut flashbacks to Swinging London).
  16. Viper Club
    Viper Club is an earnest and often engaging film that’s undeniably heartfelt. It’s capital-I important and timely. But without its star’s passionate, nuanced performance, it would run the risk of being a bit generic and forgettable.
  17. The Wind
    The moments that work the best are the ones where Tammi lets the pace and pulse slow down, lets the ominous wind whistle and groan, and it isn’t trying to turn The Wind into Meek’s Cutoff as interpreted by the director of Insidious.
  18. Greta
    A loony psychodrama so steeped in winking, twinkly-toed camp that it almost (almost!) escapes the leaden tropes of the genre.
  19. Blue Steel
    Blue Steel lacks sustained storytelling craftsmanship, and it never approaches the saturnine intensity of the film it sometimes recalls, Michael Mann’s Manhunter (the greatest thriller of the past decade). But it makes you eager to see what Bigelow could do with a good script.
  20. Antlers
    For all its eerie scene-setting and squishy entrails, Antlers never really exposes the emotional guts of its narrative beyond the scope of midnight-movie horror; without that, it's just another nightmare fairytale leaning hard on heavy vibes and jump scares, and losing the forest for the trees.
  21. A Dog's Way Home
    Heartwarming, mildly funny, and occasionally thrilling without ever being anything more than just fine.
  22. Ruben Brandt, Collector
    It’s a triumph of style over substance. But what style!
  23. Bob Roberts
    This nose-thumbing mock documentary is so prescient, so astonishingly up-to-the-minute, it creates the eerie effect of having been ripped from tomorrow’s headlines.
  24. Radioactive
    A film whose big ideas strain against the staid outlines of traditional screen storytelling — though budget alone can't be blamed for its odd jumps and tonal twists, from earnest biography to magical realism and back again.
  25. BMX Bandits
    The film’s no great shakes; it’s a Down Under Goonies wannabe about three wisecracking kids shredding on their bikes as they’re chased by bungling bank robbers. But the baby-faced Kidman is easily the best thing in it.
  26. Mo' Better Blues
    Mo’ Better Blues repeatedly draws back from its characters, exchanging intimacy for shtick and, in the end, lapsing into half-baked psychodrama.
  27. Strange Days
    If anything, Strange Days belongs to the rotters hovering around its edges: Michael Wincott, a vision of Drano-throated malevolence; Tom Sizemore, who, as Lenny’s bikerish pal, suggests Judd Nelson if he’d let the corruption ooze a little further out of his pores; and the wonderfully weaselly Richard Edson as an underground software techie.
  28. The White Crow
    There’s something about the movie that makes it all feel as though it’s being presented under glass. Nureyev is more of an idea than an actual flesh and blood character. The only time The White Crow truly shoots off sparks is during its dance sequences. For those brief, beautiful moments, you can almost feel what it must have been like to witness a one-of-a-kind artist at the spellbinding height of his powers taking flight. But then the spell is broken, and the crow falls back to earth.
  29. The Hole in the Ground
    The Hole in the Ground never seeks to differentiate itself from the established horror movie aesthetic: we get creepy jangling lullaby music, a decrepitly old hooded women mumbling to herself ominously, bare feet on creaking wooden floors, broken mirrors.
  30. Run
    If the plot tends to outline its intentions in Sharpie — and veer into pure silliness by the final third — their presence pulls all that ridiculosity over the finish line: hardly a home run, but still a brittle, nasty bit of fun.
  31. Yesterday
    Fairy tales edge toward strangeness, and the sanded edges of Yesterday ultimately feel more like a flashy commercial — one of those recent music documentaries commissioned by the people on screen, propaganda with feels. The music’s good, duh, and it’ll be just as good when your local high school performs Yesterday. Which lucky kid gets to play Ed Sheeran?
  32. The Art of Self-Defense
    In the final third, as the plot accelerates and moves toward more purely outrageous acts, Casey’s awakening should feel like freedom from the stultifying smallness of his old life. Instead, it mostly just feels like another kind of box, and an ugly one, too; less artful, all offense.
  33. The Dead Don't Die
    It’s a film that lazily whistles past the graveyard as it brings that graveyard back to ravenous life.
  34. Onward
    Even at a relatively brief hour and 37 minutes, the familiar contours of Scanlon's story line struggle to conjure the wonder that Pixar’s most transcendent movies do; instead of truly new, it’s mostly old things borrowed, and tinted blue.
  35. The Art of Racing in the Rain
    Rain is not a bad movie, really, and it doesn’t sell itself as anything other than earnest, floppy-eared family entertainment. But there’s a gooey out-of-time feeling to the whole thing that a lot of films like these seem to have — a sentimental IV drip that steadily manipulates heartstrings without ever quite touching anything like true life.
  36. Blackbird
    The last 15 minutes are frankly devastating — catharsis, thy name is ugly-cry! — but it all feels a little manipulative and thinly told in the end; Nancy Meyers reset in the key of tragedy.
  37. True History of the Kelly Gang
    You can see gifted actors like Hoult and MacKay struggling to make the most of the material, and add finer shadings to Shaun Grant's bare-knuckled script. But for all its real visual flair, it's hard not to feel that the film misses something crucial about Kelly in the end — trading machismo for manhood, and sensation for true history.
  38. The Laundromat
    If a motley crew of movie stars is what it takes to shine more light on government malfeasance, then let Meryl carry that torch in a wig and a bucket hat. But as a pure movie-going experience, it’s all kind of a wash.
    • 49 Metascore
    • 67 Critic Score
    Great Balls of Fire!
    Winona Ryder is wonderful as the naive child bride. Dennis Quaid, as Lewis, mugs and struts in a colorfully unreal caricature, miming to new Jerry Lee renditions of classic tunes.
  40. The Freshman
    The Freshman has its moments — I enjoyed Paul Benedict’s performance as a pompously self-infatuated film professor — but mostly it plods along like that lizard. Still, whenever Brando shows up the screen just about twinkles.
  41. Underwater
    She’s (Stewart) just another action hero — albeit a smart, flinty one with exceptionally good hair — learning the hard way that under the sea, as in space, no one can hear you scream.
  42. Cruella
    Cruella comes off as a curious animal, eager to change its spots and trying a little bit of everything along the way.
  43. The Woman in the Window
    The final 30 minutes of the film descend into something so bloody and outrageous it nearly works as camp. Still, it's hard not to think of the better movie buried somewhere in Window's odd feints and histrionics, if only its makers had trusted themselves — or been trusted — to tell it.
  44. Dark Waters
    These Waters never quite run as strong or as deep as they should.
  45. King of New York
    Director Abel Ferrara stages the violence in electrifying spasms, and Walken, with his undead complexion, his jittery line readings, and his stare of cold rage, mesmerizes the camera.
    • 36 Metascore
    • 67 Critic Score
    Color of Night
    Possible unmet expectations aside, Color of Night remains compelling for a number of reasons. Foremost among them is Bruce Willis, who gives a quietly persuasive performance.
  47. The Hand That Rocks the Cradle
    There’s no denying the movie gets a rise out of us, but it does so by mining the fears within our hokiest prejudices.
  48. Welcome Home, Roxy Carmichael
    An offbeat pic pointlessly oversaturated with grating characters who look like they got lost on their way to a John Waters fan club convention.
  49. Class of 1999
    A trashy teen derivative of The Road Warrior, Blade Runner, RoboCop, and every other retro-future fantasy that director Mark L. Lester could cram into the compactor.
    • 56 Metascore
    • 67 Critic Score
    13 Ghosts
    The unconvincing wraiths appear whether you like it or not in this good-for-a-few-laughs feature.
  51. The Gentlemen
    The Gentlemen is nothing if not a callback to the Locks of yesteryear, star-stacked and defibrillated with enough juice to jolt a gorilla out of cardiac arrest.
    • 55 Metascore
    • 67 Critic Score
    The Sandlot
    This rosy film is clearly not for the Peter Pan set: Even today’s younger viewers who aren’t eggheads may never have heard of a sandlot-much less the Sultan of Swat. The only thing they’ll revel in is replaying the slobbery-canine-confronting climax again and again.
    • 38 Metascore
    • 67 Reviewed by
      Ty Burr
    Sister Act 2: Back in the Habit
    Sister Act 2 is pretty much a mess. It takes forever to get on its feet and doesn’t make a lot of sense once it does.
  54. Wendy
    Zeitlin has a gift for casting vivid new talent, and for creating images that read like fevered visual poetry: gorgeously saturated tableaus of the natural world, all luminous light and color. But he also tends to strip away nearly every necessary aspect of plot and character development in his strenuous pursuit of whimsy.
  55. The Daytrippers
    The Daytrippers has some of the wacky dysfunctional chic that made David O. Russell’s Flirting With Disaster such a grating experience, but writer-director Greg Mottola has a lighter, warmer touch; his characters don’t have to act like pigs in order to prove they’re human.
  56. Night of the Lepus
    Some may call Night of the Lepus plain ridiculous, but I say any movie that features mutant bunnies being shot, blowtorched, and electrocuted makes for a hopping good time.
  57. The Craft
    The Craft should please teenage girls at malls everywhere. But the film ends up descending into moralizing blahness. Most of the special effects are routine (the girls levitate like Winona Ryder in Beetlejuice), though there is one memorable bit: a nightmare featuring enough snakes, bugs, and slithery maggots to make Indiana Jones go gulp.
  58. Judy & Punch
    Even at the movie's silliest and most unsteady moments, she's (Wasikowska) the ballast: a Judy bruised but unbowed — and finally, fully ready to punch back.
  59. Antebellum
    The star works valiantly to channel Eden/Veronica's pain and confusion, and the whole humanity of a life her captors so casually dismiss. As a performer, she commits utterly; if only the story could do the same.
  60. Defending Your Life
    A lackluster affair — smooth and mildly pleasant, with some honest chuckles but without Brooks’ special, prosaic madness.
  61. Blood In, Blood Out
    What the movie needed was the kind of dark explosion of star temperament that Sean Penn brought to 1983’s Bad Boys. Still, give Hackford this: He does a vivid job of taking you places you may not think you’d want to go.
  62. Tenet
    Yes, this stuff is cool. It is also massively complex, presented with a straight face via a script that nevertheless winks at The Protagonist’s — and our — utter confusion as Tenet's byzantine plot unfolds.
  63. Sneakers
    Sneakers is an agreeably lightweight caper thriller that has absolutely nothing to do with Reeboks or basketball.
  64. White Palace
    Spader and Sarandon make White Palace worth seeing, but too often they’re fighting the movie’s smugness.
  65. Dick Tracy
    Beatty and his team of collaborators have heightened the vibrantly tawdry urban night world of Chester Gould’s classic comic strip.
  66. Candyman
    Who can take a reboot, sprinkle it with something new, cover it with blood and bumblebees and a pointed social commentary or two? Candyman can, at least for a little while, even if the movie doesn't really find its more-than-body-horror groove in the end.
  67. Rebecca
    With or without that hallowed history, it's hard not to feel the lack of something in director Ben Wheatley's lush, ponderous update — the most obvious thing, perhaps, being Laurence Olivier and Joan Fontaine.
  68. Bad Hair
    You sense Simien’s pushing into uncharted territory. Yet his distinctive gifts as a director are increasingly relegated to the margins, propelling a narrative that works better in theory than execution.
    • 73 Metascore
    • 67 Critic Score
    Miss Juneteenth
    Beharie remains a powerful performer, able to convey multitudes with subtlety, even if Miss Juneteenth never makes a move you didn’t see coming a mile down that country road.
  70. House of Cardin
    It ultimately proves too unwieldy a subject for Ebersole and Hughes to essentialize in under 100 minutes.
  71. The Glorias
    As a reverent highlight reel and a history lesson, The Glorias gets the job done; as a movie, though, it rarely sings.
  72. Tesla
    Amidst all his meta tricks — the winky callouts to Wikipedia, the deliberately kitsch sets and incongruous soundtrack — Tesla’s own story ultimately fades; a small, bright light lost in the bigger spectacle.
  73. The Old Guard
    That leaves a movie that, beneath its strong female presence and few contemporary bits of flair, has a sort of inevitable bog-standard action feel, just entertaining enough in its live-die-repeat machinations to pass the minimal engagement test.
  74. The High Note
    The movie has its moments, some of them genuinely delightful. Still, there's a world where The High Note could have struck a stronger, deeper chord, and resonated.
  75. Blue Story
    As a director, Onwubolu brings a tender, vivid touch the film’s relationships — particularly Timmy’s giddy plunge into first love with the fiercely independent Leah (Karla Simone-Spence) — though he stumbles when it comes to building deeper storylines around them; there's almost no narrative turn that doesn't seem telegraphed from the jump.
  76. Spaceship Earth
    It's a fascinating story, this clash of 1960s idealism with the cold realities of modern science, though not one that director Matt Wolf (Wild Combination: A Story of Arthur Russell) is fully able to bite off and chew in Spaceship Earth, his fitfully enthralling but frustratingly incomplete documentary.
  77. Eurovision Song Contest: The Story of Fire Saga
    If it all feels like less than the sum of all that wig glue and flop sweat and silver lamé — and far short of Ferrell's best — it's also still the kind of movie that frankly, the lowered expectations of These Times are made for: Not a new song or even a very good one, but somehow still enough to hum along.
  78. Jungle Fever
    What’s missing from Jungle Fever, I think, is a vision of the positive. By that, I don’t mean some shallow ”optimistic” message but, rather, an organic and casual sense of pleasure as one of the sustaining currents of everyday life — even in a country as mired in racism as this one.
  79. An Angel at My Table
    Told in Campion’s fancifully fractured style, An Angel at My Table is very accomplished, but it’s also an epic act of perversity: a 2-hour-and-38-minute movie about a wallflower.
  80. Nell
    By the end, the pieties of Nell fall into place all too neatly.
  81. French Exit
    There's more to admire than to love in Azazel Jacobs' arch drawing-room comedy, with its surreal styling and arch Wes Anderson-y tics — and something essential lost, maybe, in screenwriter Patrick deWitt's own adaptation of his acclaimed 2018 novel of the same name.
    • 63 Metascore
    • 67 Reviewed by
      Ty Burr
    Honeymoon in Vegas
    Way oversold in movie theaters, this pleasantly small shaggy-dog comedy seems more at home on the small screen — even if you do forget why it is you’re smiling by the time the tape finishes rewinding.
  83. Pieces of a Woman
    Though an overwrought final hour dissipates the power of the first and its soft-focus end notes feel unearned, the film still leaves a bruising kind of mark.
  84. Wild Mountain Thyme
    It almost seems churlish to single out one aspect of the film for unreality, when the whole thing is essentially one Riverdancing leprechaun short of a fairy tale. And when so many dangerous drinking games can be invented to accompany the rise and fall of Christopher Walken’s mystery brogue.
  85. Wander Darkly
    The film’s greatest strength is the pairing of Miller and Luna, an immensely charismatic duo who give Adrienne and Matteo’s relationship (not to mention her metaphysical crisis) credibility even where Miele’s script does not.
  86. Scream
    While the new movie is laced with Easter eggs and homages to the late master, it doesn't build its sequences with the same meat-and-potatoes solidity as Craven did. Bettinelli-Olpin and Gillett don't have those chops yet.
  87. First Knight
    Zucker gives the Camelot legend a makeover and rediscovers its humanizing fire. He has made a true adult fairy tale, only with a heart of glass.
  88. Land
    What does come through are the good intentions of everyone involved. There's a great sincerity here, even in the schmaltzier bits, demonstrating a real belief in the humanity on display — however contrived the vehicle for it.
  89. The Program
    James Caan is underused as the crusty coach who needs a championship season, but he is supported by good turns from the highly angst-ridden quarterback (Craig Sheffer) and the straight-from-the-streets rookie running back (Omar Epps).
  90. Rush
    Directed by Lili Fini Zanuck, the Oscar-winning coproducer of Driving Miss Daisy (it’s her first time behind the camera), Rush has a raw surface authenticity. But that’s about all it has.
  91. Dragon: The Bruce Lee Story
    If anything holds Dragon together, it’s Jason Scott Lee’s intensely likable performance.
  92. Point of No Return
    If Point of No Return is trash, it’s slick, diverting trash.
  93. Untamed Heart
    If Untamed Heart is often too precious for words, there’s one thing in it that feels miraculously fresh: the performance of Marisa Tomei, who follows up her rollicking caricature of a streetwise Italian dish in My Cousin Vinny by proving that she’s a major actress.
    • 62 Metascore
    • 67 Critic Score
    Dream Lover
    Possibly the greatest anti-date video ever...Writer-director Nicholas Kazan was obviously too enamored of his final twist to clean up all the loose ends and red herrings, but the acting has enough verve to put this sour valentine over but good.
  95. Memphis Belle
    The characters in Memphis Belle may have ethnic names, but in spirit the actors are all playing WASPs — fresh-faced, pretty-boy WASPs, the kind that make the little girls swoon. It’s Dead Poets Society Goes to War.
    • 41 Metascore
    • 67 Critic Score
    Nowhere to Run
    Nowhere to Run is about as believable as Bigfoot, but the most soulful of action heroes holds the screen with his beefy presence and — yes, fans — there is the obligatory bare-butt shot.
  97. Army of the Dead
    Army of the Dead grills its cheese to a crisp, but Bautista adds some healthy flavor. His headshots never miss your heart.
  98. Henry & June
    In Henry & June, Kaufman, trying to deepen the erotic explorations of Unbearable Lightness, ends up with a triangle movie that’s watchable but also arty and rather stilted.
  99. Unlawful Entry
    An efficient, intense formula thriller.
  100. Final Analysis
    The most gripping performers are on the sidelines: Eric Roberts, a master of hyperbolic sliminess (he’s like Cagney playing a pimp on steroids), and Uma Thurman, who brings her underwritten role a hundred shades of curiosity, brattishness, and hopeless romantic fervor. She couldn’t be a stand-in if she tried.
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