Entertainment Weekly's Scores

Select another publication »
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
view
per page
  1. The Circle
    It’s a movie that desperately wants to be timely and relevant, warning us about the Brave New World threats we all face when it comes to privacy, surveillance, and freedom. But it’s so cartoony and ham-fisted it sabotages its own argument.
  2. Wonder Wheel
    It’s undercooked even by the filmmaker’s own late-career standards. Yes, Coney Island has never looked more gorgeously golden-hued (thanks to cinematographer Vittorio Storaro), but Allen has seldom been less sharp.
  3. Skyscraper
    No one churns out big-budget action mediocrity these days as regularly as Dwayne Johnson. So now, just three months after his giant gorilla-a-go-go Rampage, we have Skyscraper — a film that suggests what would happen if you took The Towering Inferno and Die Hard and stripped them of the qualities that made both work.
  4. Rampage
    It never makes up its mind whether it wants to be a what-hath-science-wrought disaster movie like those old John Sayles cheapie classics Piranha and Alligator, or just a big, dumb, and loud tongue-in-cheek action comedy. It’s a movie that’s afraid to pick a lane.
  5. Village of the Damned
    When the children in Carpenter’s Village flash their glowing eyes, hypnotizing the hapless grown-ups into committing a series of increasingly lurid suicides, the kids don’t seem much more bizarre — or frightening — than your average 10-year-old Nintendo freak.
  6. Tales from the Darkside: The Movie
    Its title aside, this slow, clunky omnibus film feels more like a TV show than a movie. It’s not very scary, and there isn’t much contrast among the episodes.
  7. The Dark Half
    The most frightening thing about this movie is that King and Romero actually thought it was scary.
    • 43 Metascore
    • 42 Reviewed by
      Ty Burr
    Needful Things
    By now, we’ve come to expect certain things in movies adapted from Stephen King novels: brooding misanthropy, a pound or two of viscera, and — perhaps most horrifying of all — Hollywood actors delivering their lines with bad Maine accents. Needful Things delivers on said expectations, no more, no less.
  9. The Only Living Boy in New York
    Despite the silly and sentimental nature of his dialogue, Bridges, in this wondrous emeritus phase of his career, sells every single line. Well, almost every.
    • 46 Metascore
    • 42 Critic Score
    The Mighty Ducks
    The film spends most of its time tracing Bombay’s predictable transformation from supercompetitive to supercompassionate coach, a metamorphosis that will most likely bore young audiences who don’t yet know what a mid-life crisis is, let alone identify with one.
  11. Tyler Perry's Acrimony
    The 20 or so minutes we get of Henson’s rage are not enough to warrant the title or the ticket price.
  12. Soapdish
    Soapdish makes the tackiness of soap operas seem far more desperate than funny.
  13. Gemini Man
    Somehow though, the film registers as a strange, airless whiff — stale, inert, and oddly melancholy. The script rarely rises above the schematics of a thousand thrillers that languish on late-night cable, and the almost willfully cliché dialogue sounds as if it’s been generated by some kind of free-with-purchase screenwriting app.
    • 64 Metascore
    • 42 Critic Score
    Absence of Malice
    Overwrought.
  15. CB4
    CB4 would like to be a savage hip-hop lampoon, but, in fact, the film strikes a cautious balance between satire and homage. It can’t decide whether it wants to ridicule CB4 or hold the group up as role models. What we’re left with is a soggy catalog of rap cliches.
  16. Regarding Henry
    The movie has a few jokes, but it could have used some of the canny, real-world logic that made Rain Man so convincing (and funny).
  17. Guilty by Suspicion
    The scandal of McCarthyism is too daunting to shake off. But Guilty By Suspicion leaves you wishing that someone would finally make a decent movie about it.
  18. Year of the Horse
    Bluntly put, Neil Young’s music now has too much integrity and not enough hooks, and so does Year of the Horse. The rough-grain Super-8 images, while a nifty visual correlative to the Crazy Horse sound, deny us the fundamental pleasure of a concert movie — a sense of intimacy with the band’s performance.
  19. My Fellow Americans
    Enthusiastic as one might be that Jack Lemmon has found a new lease on movie life with his Grumpy Old Men series, the funny-crankpots genre wears mighty thin on this road trip.
  20. The Spy Who Dumped Me
    The new comedy, The Spy Who Dumped Me, is a mirthless, dead-on-arrival dud.
  21. Never Goin' Back
    The two leads have chemistry and a rebellious sort of charisma. Too bad they’re given such wheezy clichés to work with.
  22. The Cook, the Thief, His Wife & Her Lover
    The Cook, The Thief is so full of loathing it just about gags on its own bile.
  23. White Fang
    Despite some splendid snowcapped vistas and one rather frightening grizzly-bear attack, White Fang, a loose adaptation of Jack London’s classic novel is dramatically inert. Nothing in the picture really takes hold — certainly not the relationship between young Jack (Ethan Hawke) and White Fang, who seem like near-strangers even at the final clinch.
  24. Miami Blues
    What really sinks the movie, though, is Alec Baldwin’s strenuously awful performance.
  25. Terminal
    This stylish-but-grating pastiche of far better crime flicks is as soft-boiled as they come.
  26. Tombstone
    If only director George P. Cosmatos (Rambo) knew how to do something with cliches other than throw them into the pot and stir. A preposterously inflated 135 minutes long, Tombstone plays like a three-hour rough cut that’s been trimmed down to a slightly shorter rough cut.
  27. Upgrade
    As a movie, it’s the cinematic equivalent of paint-by-numbers: competent, attractive even, but take a single step closer and the lines peek through. There’s no need to pay money to go see Upgrade: If you select it on a plane and sleep through 60% of it, you’ve seen it in its entirety.
  28. Climax
    Is it possible to be an enfant terrible when you’re 55? Unrepentant French provocateur Gaspar Noé pushes that question (and your buttons) to the breaking point with his latest transgressive import, Climax.
  29. A Perfect World
    The trouble with Eastwood’s attempt to make a thriller with heart is that, in retreating from his darker impulses, he muffles his own voice as a moviemaker.
  30. The Next Karate Kid
    Clearly, three sequels haven’t improved Miyagi’s English, but there is something bitchin’ about seeing a babe give a bully a good thwack. Not that girls will go see this or boys will care.
Page:

Top Trailers

See all »
See all trailers »