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. Dragon: The Bruce Lee Story
    If anything holds Dragon together, it’s Jason Scott Lee’s intensely likable performance.
  2. Point of No Return
    If Point of No Return is trash, it’s slick, diverting trash.
  3. 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.
  5. 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.
  7. 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.
  8. 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.
  9. Unlawful Entry
    An efficient, intense formula thriller.
  10. 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.
  11. Gladiator
    The fight scenes are vicious, demagogic, and thoroughly exciting.
    • 48 Metascore
    • 67 Reviewed by
      Ty Burr
    Fortress
    When Lambert is onscreen, Fortress is just an effective action cheapie. Whenever Smith is the focus, it approaches junk poetry.
  13. The Indian Runner
    Though the movie is sometimes too mannered (during one unaccountable stretch, Penn suddenly turns into Diane Arbus and peppers the screen with small-town grotesques), it has an accomplished rhythmic flow, a sense of people’s destinies unfolding step by step.
  14. Love Jones
    Still, even when the plot sags, the erotic moodiness of Love Jones remains fresh.
  15. Raising Cain
    In the lurid and gonzo Raising Cain, writer-director Brian De Palma doesn’t just rip off Alfred Hitchcock. He rips off himself ripping off Hitchcock: He rides over the top of self-parody into a kind of loony-tunes reflexivity.
  16. Deep Cover
    Duke is out to blend the commercial, gut-wrenching pleasures of an inner- city shoot-’em-up with the complex moral rage that marked such black-cinema touchstones as Sweet Sweetback’s Badasssss Song (1971).
  17. Belfast
    Branagh's genuine affection and nostalgia for his subject suffuse the movie; if only the misty romanticism of his story could match it.
  18. The Mad Women's Ball
    Laurent, an actress known Stateside for movies like Inglorious Basterds and Beginners, has adapted Ball from the bestselling novel by Victoria Mas, whose facts are rooted in actual history. She shares Mas' justifiable outrage at the casual inhumanity of it all — the brutal experiments and biased theories, the rampant physical and emotional abuse — and also her sense for melodrama.
  19. Encounter
    Riz Ahmed takes Encounter a long way. But he can't single-handedly carry a film that never quite figures out what it wants to be — stark sci-fi paranoia? Psychological family drama? Desert road-trip apocalypse?
  20. Don't Worry Darling
    The movie, whatever its pile of ideas about love, gender constructs, and modern living, never really transcends Stepford mood-board pastiche. It's all nefarious and gorgeous, Darling, and strictly nonsense in the end.
  21. Swan Song
    Without much dramatic tension beyond the will-he-or-won't-he of Cameron's final choice, the film feels oddly inert, a melancholic iPhone ad stretched to feature-length.
  22. The Tender Bar
    Affleck and Clooney make sense as collaborators; both of them became directors to get out of the way of their public images. Hopefully, the next time they decide to work together, they'll lean even further into the intimacies of a setting like the Dickens, a universe unto itself.
  23. Everything Everywhere All at Once
    The actors, particularly the inexhaustible Yeoh, do much of the work to ground what often feels, with its dream logic and layer-cake Inception feints, like a coded story whose secret key you haven't been invited to share.
  24. The Adam Project
    For all its earnest sentiment and questionable science, though, Adam barrels along on movie stars and charm, from futures past and back again.
  25. Men
    More disappointing, maybe, is how much the story takes Buckley's agency away as it goes on, her defiant, sharply defined presence in the first hour giving way to the bog-standard helplessness of every woman trapped in a horror movie. Men's eerie, encompassing mood lingers; the rest is a mystery.
  26. Devotion
    Powell and Majors, both born with surfeits of natural charisma, strain mightily to imbue their scant dialogue with deeper meaning, but Devotion, earnest and determinedly earthbound to the end, never really captures the air up there.
  27. The Super Mario Bros. Movie
    It's all quite fun, with a good sense of humor and a consistent computer-animated aesthetic — plus, at 90 minutes including credits, it's short, sweet, and over before anything can get annoying.
  28. The Gray Man
    A maximalist action thriller that is almost comically violent, unfailingly glib, and intermittently very fun.
  29. Day Shift
    Shift looks and feels low-budget, from its slapdash effects to its sketched-in script, though that also feels like kind of the point: It might be bright daylight, but it's always midnight-movie time somewhere.
    • 66 Metascore
    • 67 Critic Score
    When Boys Leave Home
    Downhill is a serviceable film, with an admirably minimal use of title cards, and it effectively shows how difficult life can become for the working class. The ending, however, is so upbeat that it substantially detracts from the sobering pessimism of the preceding movie.
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