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. Cry-Baby
    There are some funny moments, but this may be the first time the director’s scabrous, anarchic wit seems vaguely depressed.
  2. Venom: Let There Be Carnage
    If we're all disposable space chum in this franchise game anyway, who needs a coherent narrative and character arcs? Just bite the head off every chicken, and lean in.
    • tbd Metascore
    • 58 Critic Score
    The Brain That Wouldn't Die
    The Brain That Wouldn’t Die has an equally familiar basic plot (mad scientist tampering in God’s domain), but it’s grimmer (a fair amount of gore), sleazier (B-girl catfights), and cruel to its leading lady, an attractive actress who spends most of the picture shot from the neck up, with her seemingly disembodied head sitting in a laboratory pan.
  4. Operation Dumbo Drop
    The whole concept, supposedly based on a true story, is weird — this is what Vietnam movies have come to? But at least the Disney quadruped has the grace to say nothing, and Leary, still an interesting motormouth, knows enough not to smoke or swear when there are elephants around.
    • 45 Metascore
    • 58 Critic Score
    The Good Son
    (Culkin's) attempt to broaden his range with the not-for-kids thriller The Good Son — in a part that calls for complex emotions rather than amusing reactions-comes up way short.
  6. Fire in the Sky
    A concrete slab of science-fiction melodrama that, for all its obvious limitations as a movie, plays on zeitgeist fantasies of an alien visitation as surely as Spielberg’s blissed-out fable did.
    • 49 Metascore
    • 58 Critic Score
    Magic
    From the start, Hopkins forgoes the subtle route and heads straight over the top, squeezing what fun there is out of William Goldman’s humorless script.
  8. Respect
    It isn't nearly as compelling a movie as Franklin was a singer, but while the film never fully captures her brilliance, it does at least effectively allude to it.
    • 44 Metascore
    • 58 Critic Score
    Bloodshot
    It’s a lot of bog-standard action stuff glommed onto a deeper metaphysical muddle; Inception drawn in extra-thick Sharpie and testosterone. If the whole thing is ultimately a shell for Diesel to do what he does, the ending also takes care to sing in the key of sequel too: Come fast cars, Avatars, and farther galaxies, there will be blood, again.
  10. Spenser Confidential
    Fists will smash; pecs will flex; hard consonants, like dirty cops, don't stand a chance. It's the only sure thing in this crazy world, kids — except maybe a sequel.
  11. The Rookie
    The plot makes almost no sense, and Eastwood directs in his usual toneless fashion. But in this case, the fact that you can’t always tell the intentional comedy from the unintentional isn’t necessarily a drawback.
  12. Under the Cherry Moon
    It’s really Prince who’s the ingenue here. He engages in much mock-effeminate vamping, scampers around the French Riviera in outfits that would have humbled Liberace, and grants himself the most melodramatic death scene since Camille.
  13. Double Impact
    What makes Double Impact, for all its dull-witted theatrics, an energizing experience is the picture’s astonishing level of ballistic mayhem.
  14. Made in Italy
    It feels almost churlish to fault the film for its weightlessness, when light is exactly what movies like this are meant to provide: a fizzy, sun-drenched escape from the pale monotony of our own lives.
  15. Something to Talk About
    Tack on a jarringly upbeat coda that looks like the kids at the studio demanded a ”happily ever after” ending before they would agree to put the picture to bed, and Something to Talk About becomes a safe, generic family story of no particular personality.
    • 48 Metascore
    • 58 Critic Score
    Butterfield 8
    Taylor’s work is several notches above the botched material, adapted from the John O’Hara novel.
  17. Freaky
    There's a better, weirder story in here somewhere — about teenage desire and social Darwinism, gender and perception — but the movie seems happy enough to settle for familiar, goofy jokes and jump scares; a freak flag half-flown.
  18. Marry Me
    It's all cream puff, a featherweight fairytale too shiny and mild to attempt the better movie about midlife romance and second chances that might have been.
  19. Deep Water
    Deep Water isn't really thrilling or erotic, but it accomplishes a kind of diagonal camp sincerity, plummeting its glamorous characters into ever-tawdrier situations. I wouldn't marry it, but I wouldn't kill it. Remind me, what's the third option?
  20. Black Adam
    Black Adam is what happens when artists say they want to go dark but don't really have the stomach for it. Cue scenes of humorless mid-air wrestling, shake vigorously, wait for the sequel.
  21. Medicine Man
    In the end, there’s something opportunistic and glib about the way that Medicine Man yokes together medical wish fulfillment and save-the-rain-forest agitprop into a neat, messagey package. Nothing takes the fun out of romance quite like liberal earnestness.
    • 48 Metascore
    • 58 Critic Score
    Just Cause
    By the end of Just Cause, you’ll be wondering if the world really needed a second remake of Cape Fear. But its first two thirds are tense if not exactly taut, and Fishburne’s performance is a lesson in how a truly inspired actor can breathe quirky life into a tired cliché.
  23. Hot Shots! Part Deux
    Much of the time, the film itself veers perilously close to becoming the sort of high- body-count action spectacular it’s supposed to be parodying. When gags are tossed off in the midst of bomb blasts and deafening machine-gun fire, is it any wonder that audiences will tend to ignore the comedy and focus on the mayhem? If Hot Shots! Part Deux proves anything, it’s that making fun of big, raucous, sky-high explosions is a joke of rapidly diminishing returns.
  24. Harley Davidson and the Marlboro Man
    It’s engagingly junky entertainment with a healthy sense of its own ludicrousness.
  25. Passenger 57
    In a few of the action sequences, director Kevin Hooks evokes the entertaining preposterousness of the James Bond series. Still, as high-wire action melodrama Passenger 57 is almost laughably implausible.
  26. Silk Road
    There's only so much real-world intrigue a crime committed almost entirely via ones and zeroes can entail, and the script's halfhearted attempts to make it all Mean Something feel more than a little callow in the end.
    • 43 Metascore
    • 58 Critic Score
    True Colors
    The movie does have the gifted Spader, superb in the thankless role of the Good One. The lightweight Cusack, however, doesn’t have the authority to play an incipient demagogue. His juvenile performance turns True Colors hopelessly monochromatic.
    • 26 Metascore
    • 58 Critic Score
    Look Who's Talking Now
    Though Alley, Travolta, and their canine counterparts do their zany best to be irresistible, Look Who’s Talking Now! probably won’t become a yuletide classic. Even so, the happy ending of this harmless comedy serves one purpose: reassuring doubting kids that Santa really does exist, a lesson parents might like — at least until the li’l ones climb into the big guy’s lap and ask for a dog for Christmas.
  29. Those Who Wish Me Dead
    Unlike Remorse, and other bloody misfires out this month, Dead isn't particularly ugly or offensive; it's engaging enough and sometimes almost unintentionally fun. For a star who so rarely chooses to be on screen these days though, it feels like another kind of mortal sin, at least in Hollywood: forgettable.
    • 56 Metascore
    • 58 Reviewed by
      Ty Burr
    Alive
    As engrossing as it is, the movie still tells only half the story: the other, nobler half.
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