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. A Cinderella Story
    When not unnecessarily bland, synthetic, and indistinguishable from undistinguished teen TV, A Cinderella Story is unnecessarily coarse and dumbed down, with every character except Sam and Austin subject to perfunctory ridicule.
  2. Alexander
    An exhausted epic, one that Stone has directed with an almost startling lack of personality or vision.
    • 1 Metascore
    • 42 Critic Score
    Bio-Dome
    Even with the low expectations any reasonable viewer brings to a Shore flick, this rates only stupid-plus. The bongs-and-pajamas set, though, should be riveted.
  4. The One
    It's hardly much of a thrill to see The One recycle, on a lower budget, the slo-mo bullet dodges from "The Matrix," along with unspectacular variations on several other of that film's time-bending demolition-ballet effects.
  5. Raise Your Voice
    Hilary Duff makes me long for the comparatively Dostoyevskian depths of Sandra Dee.
  6. Taking Sides
    The sides to consider in Taking Sides are all but obscured by cinematic pomposity at best, Holocaust porn at worst.
  7. Yu-Gi-Oh!: The Movie
    It's all the thrill of watching other people play Uno.
  8. Wilbur Wants to Kill Himself
    Too chicly depressive -- and, for the most part, too dull -- to bear.
  9. Garfield
    Cloddish, unfunny dud.
  10. Napoleon Dynamite
    Filmmaker Jared Hess (who cowrote the script with his wife, Jerusha Hess) installs Napoleon front and center as a punchline in and of himself -- and as that dispiriting product of narrative defeat, a symbol.
  11. Bill & Ted's Bogus Journey
    If any character steals Bill & Ted's Bogus Journey, it's the Grim Reaper, who, as played by William Sadler, keeps smirking with pleasure at the chance to loosen up.
    • 53 Metascore
    • 42 Reviewed by
      Ty Burr
    Crash
    The only entertainment value is in imagining Turner's apoplexy when he watched Spader having sex with Rosanna Arquette's leg wound.
    • 54 Metascore
    • 42 Critic Score
    The Substance of Fire
    Rifkin's descent into madness is Shakespearean in scope, but the rest (except Parker) are precious. Fire? Duraflame. [18Jul1997 Pg.90]
    • Entertainment Weekly
  14. Evita
    Technically, Madonna's singing is beautiful -- elegant, silky, refined. Yet there's no fire, no twinkle of ambitious joy, to her performance. Her face is fixed, almost tranquilized -- a porcelain mask.
  15. Phenomenon
    Phenomenon (directed by Jon Turteltaub, the guy who sedated us with "While You Were Sleeping") would be pretty unbearable were Travolta not so consistently charming.
  16. Home for the Holidays
    Foster, working from a patchy, meandering script by W.D. Richter, produces scene after scene of rudderless banter. The movie is all asides, all nattering; the actors seem lost in their busy, fractious shticks.
  17. Dangerous Minds
    Yet despite its promising pedigree, Dangerous Minds has a slick, syrupy fraudulence -- it's like an Afterschool Special made for MTV.
  18. Dead Man
    The film has barely started, and already we can tell what we're in for -- two hours of metaphysical drift.
  19. Interview with the Vampire: The Vampire Chronicles
    Dramatically, though, the film is torpid.
    • 51 Metascore
    • 42 Reviewed by
      Ty Burr
    The Pelican Brief
    Pakula insists that The Pelican Brief is haute cuisine, and the seriousness nearly wrecks it.
  21. Spy Hard
    I'm happy to report, though, that even a dud like Spy Hard can't completely douse the stumbling Zen charm of Leslie Nielsen, whose genius is that he never quite sheds the illusion that he isn't in on the joke.
    • 47 Metascore
    • 42 Reviewed by
      Ty Burr
    Empire Records
    The movie is too blatant a throwback to crass '80s teen fodder to really work.
  23. The Long Kiss Goodnight
    Ultimately, however, Kiss is too ridiculous to engage us as a thriller yet too cringingly self-conscious to amuse us as camp.
  24. Mary Reilly
    The film's chief novelty turns out to be its drab ''literary'' approach to horror.
  25. M. Butterfly
    Cronenberg directs this doomed romance in the same flat, claustrophobic, night-of-the-zombies style he employed in ''Naked Lunch''; as a dramatist, he's still stuck in Interzone.
  26. Poetic Justice
    With Poetic Justice, John Singleton has (at least temporarily) lost his way, but he may have found an actor [Shakur] who can help lead him back.
  27. Jacob's Ladder
    The movie, a piece of luridly baroque metaphysical trash, is about a Vietnam veteran who keeps getting jolted by demonic visions.
  28. Legends of the Fall
    This puffed-up Western set in Big Sky country becomes a small-screen horse opera.
  29. Sex and the City 2
    As Carrie might type on her laptop while giving one of her girly little shrugs, When did Sex and the City become so long and mean so little?
  30. Takers
    At least they do look sharp in those suits.
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