Entertainment Weekly's Scores

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For 7,798 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 7798
  2. Mixed: 2,080 out of 7798
  3. Negative: 760 out of 7798
7798 movie reviews
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  1. Girl 6
    Lee, I'm afraid, hasn't a clue. He has made half a movie, a phone-sex comedy in which the heroine has no real existence apart from the phone.
  2. Father of the Bride Part II
    Sure, Martin and Keaton squander their talents on this sentimental piffle, but it's hard to begrudge these two stars a couple of commercial hits. And oh, those adorable babies at the conclusion! The audience I saw Father of the Bride Part II with loved this big, corny, old-fashioned movie; as crowd-pleasers go, it's a shrewd one.
  3. Bastard Out of Carolina
    The agonizing moments that convey what it's like for Bone to feel helpless and afraid of Daddy Glen even when he's not torturing her are where the art is. The pornographic violence is artifice. [13 Dec 1996]
    • Entertainment Weekly
  4. Mad Dog and Glory
    Mad Dog and Glory turns out to be a light-spirited urban fairy tale. Despite occasional flashes of violence, its atmosphere is one of moonstruck romanticism.
  5. The Man Without a Face
    Gibson stages the movie episodically, as a series of quiet actors' moments; his direction is scrupulous, tasteful, and, I'm afraid, rather sodden. By the end, he wrings a tear or two, but more from the story's sentimental outline than from anything he does to fill it in.
  6. Rocky V
    This sweetly downtrodden, punch-drunk Rocky is often appealing to watch. Yet as a character, he doesn’t have much drive — and neither, I’m afraid, does the movie.
  7. My Blue Heaven
    The movie itself, with the exception of a few scenes, doesn't really have the wit it's aiming for, and among Steve Martin vehicles it's middle-drawer, at best. Yet that mood of silly exuberance reigns through most of the picture.
  8. The Two Jakes
    The Two Jakes is competent and watchable.
  9. Days of Thunder
    The film, though sleek and easy to sit through, replaces genuine dramatic involvement with a superficial, rock & roll empathy-it's as though we were watching Cruise's character and playing air guitar to his emotions. There are plenty of soulless movies around. What's special about Days of Thunder is that it works overtime trying to convince you it's not one of them.
  10. What About Bob?
    What About Bob? is just funny enough to make you wish it had been wilder and less predictable.
  11. Swing Kids
    The movie is a somber, smoothly crafted drama about a wily adolescent who senses there's something rotten going on in his country but can't quite put a finger on it.
  12. The Loss of Sexual Innocence
    It's one of those woozy Jungian art jobs, a series of elliptical, nearly wordless vignettes that are meant to strike a universal symbolist chord. Director Mike Figgis frames the movie with his baroquely contemporary documentary-like version of the Fall.
  13. Shallow Grave
    Danny Boyle's glittering, deadpan, nihilistic little thriller.
  14. The Pillow Book
    I can't say that I've ever entertained fantasies of writing on someone's body. But Peter Greenaway's The Pillow Book (Cinepix) does, at least, succeed in making it look like an erotic activity.
    • 41 Metascore
    • 67 Critic Score
    Clue
    This screwball comedy turned a rainy-day board game into inspiration — and attempted to answer the question of what Colonel Mustard has up his sleeve.
  16. Step Up 3-D
    Step Up 3D isn't, in dramatic terms, a very good movie, but it's the first film in a while to use 3-D as more than a marketing ploy; it points toward an original way of making a musical.
  17. Piranha 3-D
    I call Piranha 3D ''exploitation,'' rather than a quality scare movie, because it serves up well-timed gross-outs instead of genuine suspense and because the movie has no pretense of providing character, plot, acting, or dialogue that's anything more than boilerplate.
  18. The Killer Inside Me
    The Killer Inside Me may be the darkest film noir ever made.
  19. Shrek Forever After
    Everyone involved fulfills his or her job requirements adequately. But the magic is gone, and Shrek Forever After is no longer an ogre phenomenon to reckon with. Instead, it's a "Hot Swamp Time Machine."
  20. The Back-up Plan
    As a romantic comedy, The Back-up Plan is friendly but also a bit drab.
  21. A Nightmare on Elm Street
    It's not every day that one of our rogues' gallery of iconic psycho killers gets to be played by a creepy and fascinating actor -- in this case, Jackie Earle Haley taking on the role of Freddy Krueger.
  22. I'll Sing for You
    One of those sanctifying docs that rambles when it should explore.
  23. Sky Blue
    When a brilliant fish wriggles by, even a less than ardent anime viewer will want to freeze the frame and gape.
  24. Daybreak
    The snappish domestic infighting is effectively staged, yet beneath its ''raw'' atmosphere Daybreak traffics in pop-sociological clichés.
  25. 39 Pounds of Love
    In moments that have nothing to do with representing the weight of love (whatever that is), the film comes alive: when Ami Ankilewitz isn't a symbol - just a man who, for instance, loves a woman.
    • 64 Metascore
    • 67 Critic Score
    Wrestling with Angels: Playwright Tony Kushner
    Wrestling with Angels could use some brouhaha: It's a bit too much of a pleasant air kiss from a fan, and doesn't engage inquisitively enough with Kushner's often controversial and very political ideas.
  27. Family Law
    Well acted.
  28. Abduction: The Megumi Yokota Story
    For 20 years, Megumi's family doesn't know where she is; when they find out, the frustrations and uncertainties only mount. But as thickets of history and culture are (too) neatly avoided, the viewer is also left in the dark.
  29. East of Havana
    East of Havana picks at these politico-philosophical threads rather than pulling them, and the sense of a larger movement is fleeting. There's a beat, but we never quite see who's dancing to it.
  30. American Cannibal: The Road to Reality
    The writers act shocked at how low they are stooping, but given their desire to write sitcoms, you have to wonder.
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