Entertainment Weekly's Scores

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For 7,797 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 7797
  2. Mixed: 2,079 out of 7797
  3. Negative: 760 out of 7797
7797 movie reviews
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  1. Junior
    Schwarzenegger’s willingness to flirt with femininity, to become truly radiant, is the most engaging aspect of Junior. Unfortunately, the script doesn’t portray his transformation to starry-eyed pregnant bliss with much comic ingenuity.
  2. Close
    The twists in Close aren’t very twisty and its thrills aren’t particularly thrilling. But if watching women getting smacked around by cartoon bad guys before finally getting payback is your thing, by all means, have at it.
  3. Fire Down Below
    The star hasn’t lost his gift for making sadism seem impish. After a while, however, you may notice that the film’s mayhem is accomplished almost entirely through editing.
  4. Sliver
    For all of Stone’s skill, there’s something naggingly remote about her. She has the beauty and confidence of Grace Kelly without the warmth that made Kelly’s sexiness seem at once playful and glamorous.
  5. The Witches
    This Witches, alas, has the misfortune of doubling down on all the late writer's eccentricities, while somehow finding only a fraction of his magic.
    • 68 Metascore
    • 50 Critic Score
    True Confessions
    While True Confessions boasts big themes (redemption, reconciliation) and big names, the plot and performances are painfully subtle. It proffers too many details and not enough payoff.
  7. Tom Clancy’s Without Remorse
    Vengeance is wrought without remorse and even less sense. The only sure thing, judging by the promise of a post-credits scene, is a sequel.
  8. Monster Hunter
    Plot doesn't really matter, there's not much character development to speak of, but there is a lot of fighting against an endless swarm of enemies.
  9. To Wong Foo Thanks for Everything, Julie Newmar
    If there’s any shock value left to seeing a couple of matinee idols dressed up in women’s clothing, the drag-queen comedy To Wong Foo, Thanks For Everything, Julie Newmar gets it out of the way fast.
    • 64 Metascore
    • 50 Critic Score
    Hamburger Hill
    Kudos to Vietnam vet Jim Carabatsos for writing Hamburger Hill, the only ’80s Nam film that truly showcases American heroism, but this dramatization of the charge up hellish Hill 937 lacks context and bitterly scapegoats peace activists and the media.
  11. Halloween Ends
    Before it lumbers to its big showdown — halfheartedly, with all the excitement of a third installment of a third reboot cycle — Halloween Ends is an unusually Michael Myers-free affair. Where's the big guy?
  12. Casualties of War
    As drama, the movie is sustained yet hopeless — it coasts along on the kind of schoolbook-simple, this-is-good-and-this-is-bad pieties Vietnam made obsolete.
    • 66 Metascore
    • 50 Critic Score
    The Jazz Singer
    The plot is powerful because it’s so absurdly melodramatic.
    • 43 Metascore
    • 50 Critic Score
    The Three Musketeers
    It’s packed with swordplay, fast getaways, and heaving bosoms.
  15. Blank Check
    Because I’m not a 9-year-old boy, however, this story of a kid who acquires a blank check, cashes it for a million bucks, spends it all, and learns that having stuff isn’t nearly as satisfying as having a father’s love comes across as a calculated, mechanical production owing much too much to Home Alone.
  16. Pacific Heights
    You can’t make a good thriller when the most pressing issue is whether the protagonists will have to default on their mortgage payments.
  17. Body of Evidence
    A preposterous erotic thriller from the Basic Instinct fingernails-ripped-my-flesh school, Body of Evidence is shamelessly — and, on occasion, amusingly — unadulterated trash.
  18. Irresistible
    In a world where a morning tweet can feel as dusty as the Dead Sea Scrolls by nightfall, it almost seems like madness to try to capture this current political moment on film.
  19. Falling
    Barring any greater lessons on motivation or forgiveness, the movie becomes little more than an endurance test; one far easier — at least for the viewer — to fall away from than to stay.
  20. The Secret Garden
    Like the garden at its heart, The Secret Garden has always found its beauty in its quietude, a small story of hearts broken and healed through nature, attentive care, and true connection. But this adaptation doesn’t understand that, instead drowning the film in showy set pieces and magical realism rather than understanding the inherent magic in all things.
    • 36 Metascore
    • 50 Critic Score
    Airport '77
    Silly as it is (c’mon, helium balloons?), Airport ’77 is the most suspenseful of the series, with death looming over a planeload of Oscar winners, each trying to out-ham the others before their oxygen runs out.
  22. Nobody
    Nobody could play well for anyone desperate to visit a recently reopened theater, but this is a rather chilly festival of carnage, too rigid to ever really spark to life. It's wickless.
  23. Capone
    Maybe what's most frustrating is how much the movie's deeper themes — morality, mortality, the twilight of power — churn intriguingly at the edges of nearly every scene only to turn toward sentiment, or become merely secondary to its relentless focus on his physical decline. There’s merit, of course, in exploring the good and bad in every man, even one as notorious as this one; Capone, in the end, just settles for ugly.
  24. Chemical Hearts
    An adaptation of Krystal Sutherland’s YA novel Our Chemical Hearts, Tanne’s second film doesn’t live up to the promise of his first, lacking its texture and specificity, but still offers small insights and worthy central performances.
    • 51 Metascore
    • 50 Critic Score
    Poison Ivy
    Drew Barrymore is terrific as a jailbait fatale who manipulates the members of a dysfunctional well-to-do family in this gothic sexploitation item. But while Poison Ivy tries hard to work up a sweat, it ends up so over the top that it can’t help but go splat.
  26. You Should Have Left
    Even at 93 minutes, the material feels thin, and so does its moral message. But the movie's goofy, blunt-edged claustrophobia may also be its greatest gift to viewers: the chance to be grateful that the only ones haunting our own homes right now are us.
  27. Snake Eyes: G.I. Joe Origins
    Unfortunately, director Robert Schwentke (RED, R.I.P.D.) uses a lot of razzle-dazzle, and too often the quick cuts and close-ups obscure the action rather than highlight it.
  28. Children of Heaven
    The plot feels less like a realistic dilemma than it does a willed exercise in neorealist catharsis — a way of inviting Western audiences to bask in their materialist ”empathy.”
  29. I'm Your Woman
    If wallpaper and polyester were any metric to judge a movie by, I'm Your Woman could have been a masterpiece.
    • 42 Metascore
    • 50 Critic Score
    Bug
    Many strange events ensue — the bugs learn to spell out words with their bodies, people get barbecued and devoured — but none of these marvels is believable.
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