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. 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?
  2. 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.
  3. The Dead Don't Die
    It’s a film that lazily whistles past the graveyard as it brings that graveyard back to ravenous life.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  10. 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.
  11. 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.
  12. Cruella
    Cruella comes off as a curious animal, eager to change its spots and trying a little bit of everything along the way.
  13. 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.
  14. Dark Waters
    These Waters never quite run as strong or as deep as they should.
  15. 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.
  17. 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.
  18. 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.
  19. 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.
  21. 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.
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. 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.
  29. 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.
  30. Defending Your Life
    A lackluster affair — smooth and mildly pleasant, with some honest chuckles but without Brooks’ special, prosaic madness.
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