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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    • 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.
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