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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    • 49 Metascore
    • 58 Critic Score
    Dennis the Menace
    If you loved Dennis the Menace as a kid, do yourself a favor: Skip this film and hold on to your memories.
  2. Last Exit to Brooklyn
    Selby’s book is considered a gutbucket classic of the post-Beat era, but its hellish vision was, in part, a reaction to the stifling postwar optimism of ’50s America. Now, it seems overdone — especially when recreated with this much hyperbolic showmanship. Last Exit to Brooklyn is so relentless it’s not of this world.
    • 69 Metascore
    • 58 Critic Score
    Romeo and Juliet
    The whole thing sinks on the shoulders of its pretty teen stars (Hussey and Whiting), who exhibit all the raw talent and sensuality of bit players in some bad Spanish soap.
    • 50 Metascore
    • 58 Critic Score
    Fat Man and Little Boy
    There is scarcely a performance in Fat Man and Little Boy that is less than commendable. Almost every scene is thoughtfully and tastefully (though not imaginatively) devised. But the characters and shots do not work together to tell a story. Instead, we get a bunch of inconclusive vignettes.
  5. White Hunter Black Heart
    White Hunter, Black Heart emerges as little more than a plodding shadow of the great film it could have been. An actor making a stretch is one thing. As Huston, Eastwood is so out of his depth he seems to have lost his entertainer’s instinct, not to mention his modesty.
  6. Things Heard & Seen
    The movie marches on in grim, silly lockstep to its themes: a compendium of jump-scare terrors almost exhaustively heard and seen, but rarely calibrated to make you feel much of anything at all.
  7. The Protégé
    Martin Campbell's cat-and-mouse assassin thriller is self-aware enough as a kinetic genre entry. As it spills more blood and more convoluted backstory, however, it reveals an empty center.
    • 54 Metascore
    • 58 Reviewed by
      Ty Burr
    Bride of Re-Animator
    The original Re-Animator was made by an artist working on a wicked, energetic high. Bride of Re-Animator is a smart piece of hack work. In the end, it’s best left standing at the altar.
    • 48 Metascore
    • 58 Reviewed by
      Ty Burr
    Jennifer 8
    A lukewarm thriller.
    • 77 Metascore
    • 58 Critic Score
    Ruby in Paradise
    Ultimately, though, it’s the film that’s tentative-and more than a little plodding. Instead of following through on the relationships, Nunez allows Ruby in Paradise to get bogged down in his heroine’s economic woes. The film ends up being about whether she’ll land on her feet, when what we really want to see is whether she can stand tall.
    • 31 Metascore
    • 58 Critic Score
    Fire Birds
    The only sensible thing to do with a picture as intentionally unreal as Fire Birds is just to lie back, pump up the volume, and pretend that you’re playing Nintendo.
  12. Spaced Invaders
    Set on Halloween, this intentionally cheesy sci-fi parody doesn’t offer much variety among its human characters, but its animatronic aliens — who look like sourpuss versions of Spielberg’s E.T. — are amusingly obnoxious.
  13. Old
    Old comes close to seeing its metaphysical mystery through. In the end, though, it settles for something more like supernatural camp, with telegraphed twists and jump scares.
  14. Romeo Is Bleeding
    Romeo Is Bleeding just ends up flaunting its Grand Guignol outrageousness, rubbing our noses in its desire to be a gaudy hipster freak show. By the end, the film has become so mired in pointless sensation that it ceases to be any fun at all.
  15. The River Wild
    Most of The River Wild moves at an annoyingly maladroit, stop-and-go tempo — it feels too much like a camping trip — and almost nothing that happens is very believable.
  16. The Electrical Life of Louis Wain
    The film can't seem to stop piling on idiosyncrasies, a kind of willful kookery that mixes uneasily with the more serious elements of personal tragedy and mental illness that run through it.
    • 48 Metascore
    • 58 Critic Score
    The Dark Backward
    Somewhere here, an ironic show-biz parable is trying to take shape. But director Adam Rifkin generally ignores it, preferring to flaunt the chops he has borrowed from David Lynch and John Waters.
  18. The Guilty
    Guilty, for all its wild-eyed excess, does find some blunt-force propulsion for a while, particularly if you're coming to it new. But the movie seems to mistake the taut minimalism of the original for something that needs to be goosed and adrenalized, a thriller on constant defibrillator.
  19. The Humans
    The cast's chemistry never quite gels beyond their staged circumstances, and too much of the dialogue replicates actual life without finding a deeper resonance: the rambling anecdotes, latent passive aggressions, and aimless small talk of ordinary people just living their lives.
  20. Operation Fortune: Ruse de Guerre
    Globe-trotting tomfoolery ensues, in ways never quite as witty or engaging as you want them to be, though Hugh Grant and Josh Hartnett bring a certain insouciant zing.
  21. Posse
    Westerns, even offbeat ones, demand a lean clarity that Van Peebles, at this point, lacks the discipline to establish.
  22. Vengeance
    Novak, who spent years refining the squirrelly ticks of his self-regarding salesman Ryan on nine seasons of The Office, isn't a demonstrably different dude here. His callow-millennial act — and the navel-gazing vagaries of modern content culture — make fertile ground for satire, and many of the jokes here do find their soft targets. But it can also feel hollow and exhausting in main-character movie form.
  23. Chip 'n Dale: Rescue Rangers
    There's a secret blandness behind the frantic insider gags.
  24. Ticket to Paradise
    There's no doubt both actors deserve sharper, less silly material than this, but when they're playing beer pong in a Bali bar and drunkenly pogo-ing to House of Pain's "Jump Around," Paradise is almost, for a moment, a place on Earth.
  25. Amsterdam
    The production and costume design are, unsurprisingly, impeccable. But the resolution of the central mystery is both rushed and obtuse, and it all unfolds in a frenetic, flailing whirl of pomp and nonsense that Amsterdam's strange circuitous journey and almost embarrassing surplus of stars never quite justifies: a whirring music-box curiosity in search of some elusive purpose, and a point.
  26. Operation Mincemeat
    A better, subtler movie lurks somewhere in Mincemeat; for dads and history buffs, the pleasant hash it presents instead is passable enough.
  27. Crimes of the Future
    Crimes of the Future . . . sometimes feels like a Cronenberg Greatest Hits, at least aesthetically; so loaded does it come with his signature themes and gooey, seemingly hand-crafted contours.
  28. Persuasion
    This Persuasion chooses to wear its source material like a thin disposable skin, discarding many of the vital organs (brain, heart) and most ideas of subtlety as it goes. Austen may be immortal, but she's not inexhaustible; maybe it's time to tell another story and let her rest in peace.
  29. Beast
    It's August and we have Idris, Beast seems to say; do you really have anywhere better to be?
    • 53 Metascore
    • 58 Critic Score
    The Phantom
    Yet the raiders-of-the-lost-bones plot and period detail remind us that post-Indiana Jones, a cliff-hanger needs action more blockbuster than lackluster, plus dialogue better balanced between winking kitsch and comfort-food corn.
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