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. Son in Law
    In ”Son-In-Law,” Pauly Shore is like MTV’s missing Marx Brother; call him Sleazo. For once, he makes being utterly shameless seem halfway likable.
  2. Loaded Weapon 1
    But the Lethal Weapon films, with their hyperbolic explosiveness, lurid repartee, and quasi-loco Mel Gibson hero, are already winking at the audience. (Last year’s spoofy, ragtag Lethal Weapon 3 practically turned its own slovenliness into a running gag.) The only way to make light of them is to exaggerate the cartoon funkiness that’s already at the center of their appeal. It’s no wonder this Weapon ends up shooting blanks.
  3. Cherry
    For all the frenzied action of the final scenes though, there's an airless, overwrought sense of diminishing returns — and that's a comedown we've seen too many times before.
  4. Mortal Kombat
    Fatalities are the closest we get to the fun of playing a Mortal Kombat game, but future adapters would be better off realizing that video games are art precisely because of their unique gameplay, and not because of the silly lore that stitches cutscenes together.
  5. Dogfight
    For all the pitfalls it scrupulously avoids, Dogfight isn’t finally very interesting. It’s not just the movie’s plot that’s diminutive. The emotions seem small too.
  6. Stone Cold
    The routinely scripted but kinetic Stone Cold is a throwback to Roger Corman’s Hell’s Angels flicks, in which beer-swilling denim-and-leather-clad freedom riders straddled their Harleys to terrorize the American heartland.
    • 46 Metascore
    • 50 Reviewed by
      Ty Burr
    Undercover Blues
    The movie’s a dog, but you almost wish for a sequel, if only to do right by these two.
  8. Another Stakeout
    There’s one funny bit in Another Stakeout — a dysfunctional dinner party — but director John Badham puts more energy into high-tech chase sequences featuring the neighborhood pets than he does into refining the comic chemistry of his stars.
    • 62 Metascore
    • 50 Critic Score
    Last Exit to Brooklyn
    Aficionados of fine acting will find Last Exit to Brooklyn worth renting for the complex performances of Lang and Leigh. But, with its vague and unresolved story and themes, the movie remains a blur.
  10. The Lover
    Of course, the hollow drama of The Lover might not matter so much if these two actually did something interesting in bed. As it is, they barely get out of the missionary position. With far more explicit (and inventive) erotic films available at almost any video store, one has to wonder: How much point is there to portraying sexual passion as serious and ”adult” if you only end up taking all the fun out of it?
    • 58 Metascore
    • 50 Critic Score
    Thunderheart
    The movie boasts a number of shoot-outs and a car chase leading to the final showdown, but it’s more than just an updated cowboys-and-Indians picture, due in no small part to Apted’s grasp of the situation’s complexity.
    • 49 Metascore
    • 50 Critic Score
    The Old Man and the Sea
    Essentially, it’s a slow-moving, low-rent Moby Dick with portentous voice-overs and unconvincing process shots of Spencer Tracy in a studio tank. In fact, why director John Sturges (The Magnificent Seven) bothered to make it remains a mystery.
    • 30 Metascore
    • 50 Reviewed by
      Ty Burr
    Madhouse
    The tacky New Jersey cousin with the nauseous cat, the gold-digging sister, the drug-running nephew — these are cruel cartoons, as grating to the viewer as they are to their hosts. Tucked between the pratfalls, though, is some surprisingly deft comedy.
  14. Only the Lonely
    The performers keep you watching (Candy, I’m convinced, could be a fine dramatic actor), yet the movie itself is a thin procession of clichés.
    • 47 Metascore
    • 50 Reviewed by
      Ty Burr
    Mr. Jones
    In short, a little too spongy for high- quality junk food.
  16. Narrow Margin
    Narrow Margin, despite a sturdy turn by Gene Hackman as a cynical assistant DA, is a thinly scripted procession of train-movie clichés.
    • 41 Metascore
    • 50 Critic Score
    Candyman: Farewell to the Flesh
    Since Barker’s baroque prose visions are too complex for the gore-hound market, they’re bound to be watered down into this kind of bilge.
    • 64 Metascore
    • 50 Critic Score
    Where the Day Takes You
    In Where the Day Takes You, a prettified look at teen homelessness in Hollywood, even a junkie’s vomit looks designer.
  19. A Journal for Jordan
    Uninspired though it is, A Journal for Jordan delivers on the heartbreak of its premise. You will weep. So if that's what you're after, you couldn't ask for anything more.
  20. Memory
    The whole thing is so wrapped in leaden dialogue and B-movie cliché that by the last weary, bloodletting hour, you'll envy Alex's ability to forget.
    • 53 Metascore
    • 50 Critic Score
    A Goofy Movie
    For parents, the burning issue ignited by A Goofy Movie is ”Will it buy us 78 minutes of peace and quiet?” Provided the kids are old enough to follow a wandering story line that centers on single father Goofy’s adolescent son Max and his quest for peer acceptance as well as he love of a pert humanoid bitch (in the doggy sense), the answer is yes.
    • 54 Metascore
    • 50 Critic Score
    Yanks
    The sketchy story simply isn’t strong enough, nor the characters sufficiently involving, to sustain interest for nearly 2 1/2 hours.
  23. The Ghost and the Darkness
    But the very thing that drew the two actors to this ripping yarn — their enchantment with playing archetypes of male power — is the very thing that undoes their awfully big adventure.
  24. Daylight
    Had Latura et al. paused for even a moment to acknowledge what they were doing, Daylight might have been a whole other ball of fire.
  25. The Whale
    Here it often feels clumsy and maddeningly inconsistent, stranding Fraser in a melodrama undeserving of his lovely, unshowy performance. Whatever he wins for The Whale — and early prizes have already come — he deserves. The rest is just chum.
  26. Wish
    Wish is so obsessed with the past that it fails to add anything new of its own. If you’re going to pay tribute to 100 years of Disney magic, you can’t forget to save a little magic for yourself.
  27. Horizon: An American Saga - Chapter 1
    What’s strangest about this three-hour movie, though, is that despite some deadly slow patches, it still feels like an hour was cut from it, considering how characters develop off-screen. On more than one occasion, there are scenes that suggest deep and lasting relationships between people … that must have happened while the camera was somewhere else.
  28. The American Society of Magical Negroes
    American Society can’t decide whether to go full biting satire or charming rom-com, and as a result, it fails to do either genre justice.
  29. Queer
    Queer is an exercise in cinematic smugness. It’s a shame because it does contain some truly fine performances and compelling imagery. But much like its central character, it can’t get over itself.
    • 40 Metascore
    • 50 Critic Score
    Tempest
    Though real-life couple Cassavetes and Rowlands bounce well off one another and Raul Julia does a wacky musical number with goats (set to the tune of ”New York, New York”), the magic’s spare.
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