Entertainment Weekly's Scores

Select another publication »
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 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
view
per page
  1. Terminator: Dark Fate
    At least Dark Fate is frequently bad in a funny way, without the dutiful dullness of the last couple sequels.
  2. Here and Now
    But for most of the film, Parker’s Vivienne is bland and forgettable. A scene where she sleeps with the drummer in her backup band is supposed to be titillating but instead feels perfunctory.
  3. Zoe
    An unimaginative waste of science-fiction potential.
  4. Like a Boss
    The film tries to replicate the formula that made "Bridesmaids" sing, pairing a heartfelt story exploring the complexities of female friendship with bawdy, over-the-top comedy. But the first half of the equation only partly succeeds, and the latter falls totally flat.
  5. The Comfort of Strangers
    The Comfort of Strangers is luridly silly, yet it isn’t quite dull. Walken takes his usual glassy-eyed menace to new levels of high-camp refinement — he manages to be over the top and minimal at the same time — and the film has an extravagantly lush atmosphere, due in large part to the music of Twin Peaks‘ Angelo Badalamenti.
  6. The Hustle
    There are a few legitimately great throwaway lines, and a few vaguely offensive ones. But the movie feels so fast and cheap that it’s hard not to wonder why they’ve made it at all, other than to jump on a small and so-far underwhelming trend in gender-swapping ‘80s remakes (see also: Ghostbusters, Overboard).
  7. Muppets from Space
    The Muppets were once devilish and sly, but this ploddingly whimsical musical caper, which uses too many ’70s soul songs to signify its rainbow-demographic cred, is enough to make you want to see them get slapped around by the Teletubbies (at this point, a far funkier crew).
  8. The Getaway
    The movie is a true throwaway: By the end, it seems to have disposed of itself.
  9. Flipper
    One reason the Flipper flick is worse than the TV show: Bland, mannered Paul Crocodile Dundee Hogan plays Sandy’s uncle, Porter Ricks, instead of television’s wonderfully grumpy Brian Keith.
  10. Love Affair
    If An Affair to Remember worked for you, Love Affair may do the same. It resurrects the earlier film’s sodden masochism with meticulous fidelity, right down to the awful final scene, which always felt — and still feels — as if another 20 minutes of movie were yet to come. Then again, what moved viewers in the ’50s seems almost luridly manipulative and unconvincing now.
  11. Vox Lux
    Corbet doesn’t seem as interested in the answers to the provocatively glib questions he raises as he is in creating a cynical riddle cloaked in style. No doubt some will find all of this to be a deep meditation on the pop-industrial complex, but from where I was sitting, it just felt like empty camp.
  12. Young Guns II
    Whenever a few of the Young Guns get together and have to behave like soulful cowboys, the movie stops dead in its tracks. The trouble with so many of today’s young actors is that there’s no deep-seated yearning or fury in their performances. They just seem like well-adjusted California kids putting on a show for a few hours.
  13. Serial Mom
    Serial Mom has traces of Waters’ acid wit, but most of the movie is tame and overly conscious of its naughty felicities.
  14. The Chaperone
    It’s little more than a handsome snooze that even the Masterpiece Theatre crowd may find a bit too snoozy.
  15. Happy Death Day 2U
    Look, no one is expecting much from a movie called Happy Death Day 2U. Certainly not air-tight logic. But this chapter feels phoned in. And unless you’re really, really desperate for a new horror movie to check out, you might want to think twice about accepting the charges.
  16. The Commitments
    As The Commitments goes on, you begin to weary of the one-note characters, who don’t so much converse as exchange arch put-downs.
  17. Miss Bala
    It’s mostly left to Rodriguez to carry the absurdity on her shoulders, and the fact that she makes it so watchable is a real testament to her abilities. Next time, may the material rise at least halfway to meet her.
    • 73 Metascore
    • 50 Critic Score
    The Great Mouse Detective
    The Great Mouse Detective‘s few tunes are unmemorable and all the action (aside from the inventive chase sequences) is snooze-worthy. Only the incomparable Vincent Price (as Ratigan) is worth the price.
    • Entertainment Weekly
  19. The Intruder
    The whole thing would be more fun, you start to feel, if Intruder just committed fully to the schlocky midnight-movie glory of it all; let Quaid’s lawn-mowing wingnut swing that ax not just for soft vulnerable body parts, but the stars.
  20. The Sun Is Also a Star
    The leads are both charming, but they can’t override the tooth-aching sincerity of the script, or the cardboard conflicts that propel it.
  21. Junior
    Schwarzenegger’s willingness to flirt with femininity, to become truly radiant, is the most engaging aspect of Junior. Unfortunately, the script doesn’t portray his transformation to starry-eyed pregnant bliss with much comic ingenuity.
  22. Close
    The twists in Close aren’t very twisty and its thrills aren’t particularly thrilling. But if watching women getting smacked around by cartoon bad guys before finally getting payback is your thing, by all means, have at it.
  23. Fire Down Below
    The star hasn’t lost his gift for making sadism seem impish. After a while, however, you may notice that the film’s mayhem is accomplished almost entirely through editing.
  24. Sliver
    For all of Stone’s skill, there’s something naggingly remote about her. She has the beauty and confidence of Grace Kelly without the warmth that made Kelly’s sexiness seem at once playful and glamorous.
  25. The Witches
    This Witches, alas, has the misfortune of doubling down on all the late writer's eccentricities, while somehow finding only a fraction of his magic.
    • 68 Metascore
    • 50 Critic Score
    True Confessions
    While True Confessions boasts big themes (redemption, reconciliation) and big names, the plot and performances are painfully subtle. It proffers too many details and not enough payoff.
  27. Tom Clancy’s Without Remorse
    Vengeance is wrought without remorse and even less sense. The only sure thing, judging by the promise of a post-credits scene, is a sequel.
  28. Monster Hunter
    Plot doesn't really matter, there's not much character development to speak of, but there is a lot of fighting against an endless swarm of enemies.
  29. To Wong Foo Thanks for Everything, Julie Newmar
    If there’s any shock value left to seeing a couple of matinee idols dressed up in women’s clothing, the drag-queen comedy To Wong Foo, Thanks For Everything, Julie Newmar gets it out of the way fast.
    • 64 Metascore
    • 50 Critic Score
    Hamburger Hill
    Kudos to Vietnam vet Jim Carabatsos for writing Hamburger Hill, the only ’80s Nam film that truly showcases American heroism, but this dramatization of the charge up hellish Hill 937 lacks context and bitterly scapegoats peace activists and the media.
  31. Halloween Ends
    Before it lumbers to its big showdown — halfheartedly, with all the excitement of a third installment of a third reboot cycle — Halloween Ends is an unusually Michael Myers-free affair. Where's the big guy?
  32. Casualties of War
    As drama, the movie is sustained yet hopeless — it coasts along on the kind of schoolbook-simple, this-is-good-and-this-is-bad pieties Vietnam made obsolete.
    • 66 Metascore
    • 50 Critic Score
    The Jazz Singer
    The plot is powerful because it’s so absurdly melodramatic.
    • 43 Metascore
    • 50 Critic Score
    The Three Musketeers
    It’s packed with swordplay, fast getaways, and heaving bosoms.
  35. Blank Check
    Because I’m not a 9-year-old boy, however, this story of a kid who acquires a blank check, cashes it for a million bucks, spends it all, and learns that having stuff isn’t nearly as satisfying as having a father’s love comes across as a calculated, mechanical production owing much too much to Home Alone.
  36. Pacific Heights
    You can’t make a good thriller when the most pressing issue is whether the protagonists will have to default on their mortgage payments.
  37. Body of Evidence
    A preposterous erotic thriller from the Basic Instinct fingernails-ripped-my-flesh school, Body of Evidence is shamelessly — and, on occasion, amusingly — unadulterated trash.
  38. Irresistible
    In a world where a morning tweet can feel as dusty as the Dead Sea Scrolls by nightfall, it almost seems like madness to try to capture this current political moment on film.
  39. Falling
    Barring any greater lessons on motivation or forgiveness, the movie becomes little more than an endurance test; one far easier — at least for the viewer — to fall away from than to stay.
  40. The Secret Garden
    Like the garden at its heart, The Secret Garden has always found its beauty in its quietude, a small story of hearts broken and healed through nature, attentive care, and true connection. But this adaptation doesn’t understand that, instead drowning the film in showy set pieces and magical realism rather than understanding the inherent magic in all things.
    • 36 Metascore
    • 50 Critic Score
    Airport '77
    Silly as it is (c’mon, helium balloons?), Airport ’77 is the most suspenseful of the series, with death looming over a planeload of Oscar winners, each trying to out-ham the others before their oxygen runs out.
  42. Nobody
    Nobody could play well for anyone desperate to visit a recently reopened theater, but this is a rather chilly festival of carnage, too rigid to ever really spark to life. It's wickless.
  43. Capone
    Maybe what's most frustrating is how much the movie's deeper themes — morality, mortality, the twilight of power — churn intriguingly at the edges of nearly every scene only to turn toward sentiment, or become merely secondary to its relentless focus on his physical decline. There’s merit, of course, in exploring the good and bad in every man, even one as notorious as this one; Capone, in the end, just settles for ugly.
  44. Chemical Hearts
    An adaptation of Krystal Sutherland’s YA novel Our Chemical Hearts, Tanne’s second film doesn’t live up to the promise of his first, lacking its texture and specificity, but still offers small insights and worthy central performances.
    • 51 Metascore
    • 50 Critic Score
    Poison Ivy
    Drew Barrymore is terrific as a jailbait fatale who manipulates the members of a dysfunctional well-to-do family in this gothic sexploitation item. But while Poison Ivy tries hard to work up a sweat, it ends up so over the top that it can’t help but go splat.
  46. You Should Have Left
    Even at 93 minutes, the material feels thin, and so does its moral message. But the movie's goofy, blunt-edged claustrophobia may also be its greatest gift to viewers: the chance to be grateful that the only ones haunting our own homes right now are us.
  47. Snake Eyes: G.I. Joe Origins
    Unfortunately, director Robert Schwentke (RED, R.I.P.D.) uses a lot of razzle-dazzle, and too often the quick cuts and close-ups obscure the action rather than highlight it.
  48. Children of Heaven
    The plot feels less like a realistic dilemma than it does a willed exercise in neorealist catharsis — a way of inviting Western audiences to bask in their materialist ”empathy.”
  49. I'm Your Woman
    If wallpaper and polyester were any metric to judge a movie by, I'm Your Woman could have been a masterpiece.
    • 42 Metascore
    • 50 Critic Score
    Bug
    Many strange events ensue — the bugs learn to spell out words with their bodies, people get barbecued and devoured — but none of these marvels is believable.
  51. Son in Law
    In ”Son-In-Law,” Pauly Shore is like MTV’s missing Marx Brother; call him Sleazo. For once, he makes being utterly shameless seem halfway likable.
  52. Loaded Weapon 1
    But the Lethal Weapon films, with their hyperbolic explosiveness, lurid repartee, and quasi-loco Mel Gibson hero, are already winking at the audience. (Last year’s spoofy, ragtag Lethal Weapon 3 practically turned its own slovenliness into a running gag.) The only way to make light of them is to exaggerate the cartoon funkiness that’s already at the center of their appeal. It’s no wonder this Weapon ends up shooting blanks.
  53. Cherry
    For all the frenzied action of the final scenes though, there's an airless, overwrought sense of diminishing returns — and that's a comedown we've seen too many times before.
  54. Mortal Kombat
    Fatalities are the closest we get to the fun of playing a Mortal Kombat game, but future adapters would be better off realizing that video games are art precisely because of their unique gameplay, and not because of the silly lore that stitches cutscenes together.
  55. Dogfight
    For all the pitfalls it scrupulously avoids, Dogfight isn’t finally very interesting. It’s not just the movie’s plot that’s diminutive. The emotions seem small too.
  56. Stone Cold
    The routinely scripted but kinetic Stone Cold is a throwback to Roger Corman’s Hell’s Angels flicks, in which beer-swilling denim-and-leather-clad freedom riders straddled their Harleys to terrorize the American heartland.
    • 46 Metascore
    • 50 Reviewed by
      Ty Burr
    Undercover Blues
    The movie’s a dog, but you almost wish for a sequel, if only to do right by these two.
  58. Another Stakeout
    There’s one funny bit in Another Stakeout — a dysfunctional dinner party — but director John Badham puts more energy into high-tech chase sequences featuring the neighborhood pets than he does into refining the comic chemistry of his stars.
    • 62 Metascore
    • 50 Critic Score
    Last Exit to Brooklyn
    Aficionados of fine acting will find Last Exit to Brooklyn worth renting for the complex performances of Lang and Leigh. But, with its vague and unresolved story and themes, the movie remains a blur.
  60. The Lover
    Of course, the hollow drama of The Lover might not matter so much if these two actually did something interesting in bed. As it is, they barely get out of the missionary position. With far more explicit (and inventive) erotic films available at almost any video store, one has to wonder: How much point is there to portraying sexual passion as serious and ”adult” if you only end up taking all the fun out of it?
    • 58 Metascore
    • 50 Critic Score
    Thunderheart
    The movie boasts a number of shoot-outs and a car chase leading to the final showdown, but it’s more than just an updated cowboys-and-Indians picture, due in no small part to Apted’s grasp of the situation’s complexity.
    • 49 Metascore
    • 50 Critic Score
    The Old Man and the Sea
    Essentially, it’s a slow-moving, low-rent Moby Dick with portentous voice-overs and unconvincing process shots of Spencer Tracy in a studio tank. In fact, why director John Sturges (The Magnificent Seven) bothered to make it remains a mystery.
    • 30 Metascore
    • 50 Reviewed by
      Ty Burr
    Madhouse
    The tacky New Jersey cousin with the nauseous cat, the gold-digging sister, the drug-running nephew — these are cruel cartoons, as grating to the viewer as they are to their hosts. Tucked between the pratfalls, though, is some surprisingly deft comedy.
  64. Only the Lonely
    The performers keep you watching (Candy, I’m convinced, could be a fine dramatic actor), yet the movie itself is a thin procession of clichés.
    • 47 Metascore
    • 50 Reviewed by
      Ty Burr
    Mr. Jones
    In short, a little too spongy for high- quality junk food.
  66. Narrow Margin
    Narrow Margin, despite a sturdy turn by Gene Hackman as a cynical assistant DA, is a thinly scripted procession of train-movie clichés.
    • 41 Metascore
    • 50 Critic Score
    Candyman: Farewell to the Flesh
    Since Barker’s baroque prose visions are too complex for the gore-hound market, they’re bound to be watered down into this kind of bilge.
    • 64 Metascore
    • 50 Critic Score
    Where the Day Takes You
    In Where the Day Takes You, a prettified look at teen homelessness in Hollywood, even a junkie’s vomit looks designer.
  69. A Journal for Jordan
    Uninspired though it is, A Journal for Jordan delivers on the heartbreak of its premise. You will weep. So if that's what you're after, you couldn't ask for anything more.
  70. Memory
    The whole thing is so wrapped in leaden dialogue and B-movie cliché that by the last weary, bloodletting hour, you'll envy Alex's ability to forget.
    • 53 Metascore
    • 50 Critic Score
    A Goofy Movie
    For parents, the burning issue ignited by A Goofy Movie is ”Will it buy us 78 minutes of peace and quiet?” Provided the kids are old enough to follow a wandering story line that centers on single father Goofy’s adolescent son Max and his quest for peer acceptance as well as he love of a pert humanoid bitch (in the doggy sense), the answer is yes.
    • 54 Metascore
    • 50 Critic Score
    Yanks
    The sketchy story simply isn’t strong enough, nor the characters sufficiently involving, to sustain interest for nearly 2 1/2 hours.
  73. The Ghost and the Darkness
    But the very thing that drew the two actors to this ripping yarn — their enchantment with playing archetypes of male power — is the very thing that undoes their awfully big adventure.
  74. Daylight
    Had Latura et al. paused for even a moment to acknowledge what they were doing, Daylight might have been a whole other ball of fire.
  75. The Whale
    Here it often feels clumsy and maddeningly inconsistent, stranding Fraser in a melodrama undeserving of his lovely, unshowy performance. Whatever he wins for The Whale — and early prizes have already come — he deserves. The rest is just chum.
  76. Wish
    Wish is so obsessed with the past that it fails to add anything new of its own. If you’re going to pay tribute to 100 years of Disney magic, you can’t forget to save a little magic for yourself.
  77. Horizon: An American Saga - Chapter 1
    What’s strangest about this three-hour movie, though, is that despite some deadly slow patches, it still feels like an hour was cut from it, considering how characters develop off-screen. On more than one occasion, there are scenes that suggest deep and lasting relationships between people … that must have happened while the camera was somewhere else.
  78. The American Society of Magical Negroes
    American Society can’t decide whether to go full biting satire or charming rom-com, and as a result, it fails to do either genre justice.
  79. Queer
    Queer is an exercise in cinematic smugness. It’s a shame because it does contain some truly fine performances and compelling imagery. But much like its central character, it can’t get over itself.
    • 40 Metascore
    • 50 Critic Score
    Tempest
    Though real-life couple Cassavetes and Rowlands bounce well off one another and Raul Julia does a wacky musical number with goats (set to the tune of ”New York, New York”), the magic’s spare.
  81. Fountain of Youth
    Unfortunately, there is an uncanny lack of urgency in the film. The characterizations are flat, the would-be quippy dialogue rarely elicits laughs, and the action sequences seldom rise above the level of satisfactory.
    • 71 Metascore
    • 50 Critic Score
    The Ring
    The only movie for which Hitchcock claimed sole writing credit isn't particularly captivating — it's a relatively standard boxing movie with a textbook love triangle at its center.
    • 64 Metascore
    • 50 Critic Score
    The Paradine Case
    This movie's attempt at a scandalous love triangle is so miscalibrated that it's extremely difficult to care about the stakes beyond the official legal proceedings.
    • 56 Metascore
    • 50 Critic Score
    Ghosts of Mississippi
    What with Goldberg’s somnambulistic nobility, and the fact that this is yet another civil rights movie in which the struggles of black Americans take a backseat to the heroics of wealthy white guys, Woods’ presence is the least of Ghosts‘ problems.
  85. Legion
    After a brisk start, the script turns out to be a rough and humorless beast slouching its way towards utter ludicrousness.
  86. Did You Hear About the Morgans?
    You should hear instead about Sam Elliott and Mary Steenburgen, who whip up cowboy fun as married U.S. marshals assigned to protect the pair in Wyoming.
  87. Alvin and the Chipmunks: The Squeakquel
    If only for the sake of adults, couldn't the folks behind the Alvin films have had the good grace to turn Alvin and the Chipmunks: The Squeakquel into a musical?
  88. Law Abiding Citizen
    Clyde is meant to be nuts, but too often it's Law Abiding Citizen that checks rationality at the door.
  89. Cop Out
    Without that heightened racial antipathy-turned-camaraderie, there's not a whole lot to Cop Out besides watching Kevin Smith pretend, with a crudeness that is simply boring, that he's an action director making a comic thriller about cops versus a Mexican drug gang (yawn).
  90. Funny People
    The message that comes across is: We're all screwed, and then we die. Ba-DUM.
  91. The Box
    It's no coincidence that The Box plays like the world's murkiest Twilight Zone episode. It's loosely based on ''Button, Button,'' a short story by Richard Matheson, who wrote some of the series' greatest scripts.
  92. I Hate Valentine's Day
    A charmless rom-com.
    • 85 Metascore
    • 42 Critic Score
    Turtles Can Fly
    Lacks grace, coherence, and a surface vivid enough to make it an alarm that many will hear.
  94. The Limits of Control
    The Limits of Control, even with its flow of star cameos (Tilda Swinton, Gael García Bernal, a frenetic Bill Murray), is a listless long pause that rarely refreshes.
  95. White Noise
    What might have been a rote horror exercise becomes instead a twitchy, mannered, often amusing rote horror exercise.
  96. The Chorus
    The movie is rotten the way that only a denatured made-for-export slice of Gallic nostalgia can be.
  97. The Wedding Date
    So many body parts from other engineered romantic comedies have been crudely harvested and stitched together in the making of this weird robotic lark that "Maid of Honor of Frankenstein" might be more useful a nickname.
  98. Nabbeun namja
    Really, who needs a bad guy who's this guilty about being bad?
  99. Dot the I
    The movie is in love with its own story loops and fancy, pop-dream cinematography from Almodóvar associate Affonso Beato, which is fine; it's also in love with its own indie-culture cleverness, which isn't.
  100. Ice Princess
    Peculiarly coy feminine-empowerment fable.
Page:

Top Trailers

See all »
See all trailers »