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. Reminiscence
    Writer-director Lisa Joy (Westworld) seems to be aiming for an Inception-style metaphysical mind-bend, with the sci-fi jolt of Minority Report and a bleak splash of Waterworld. But her intentions get lost in some cloudy marine layer in between, sunk by hammy hard-boiled dialogue and a story that leaves logic at the door.
  2. Just Cause
    For a story with so much going for it — including an interesting cast — Just Cause is just not taut and thrilling enough.
    • 55 Metascore
    • 42 Critic Score
    Playing by Heart
    With relationship patter that sounds like acting-class exercises, almost none of these stories feel true.
  4. Babylon
    Boogie had a dramatic throughline, and something genuinely unsettling to say about the strange soul-bargaining of fame. Chazelle often steers his characters toward tragedy or anguish, without ever quite rooting his inscrutable thesis in anything real.
  5. Switch
    Switch leaves one feeling that Blake Edwards is more than a little confused.
    • 43 Metascore
    • 42 Reviewed by
      Ty Burr
    Hocus Pocus
    It’s acceptable scary-silly kid fodder that adults will find only mildly insulting. Unless they’re Bette Midler fans. In which case it’s depressing as hell.
  7. Killing Zoe
    The idiocy of the plot is the tip-off that writer-director Roger Avary is really just interested in random displays of nihilistic decadence (e.g., heroin-shooting, prostitute-bashing, lotsa blood).
  8. True Colors
    The film, which has an overly complicated script (by Kevin Wade), is like Wall Street minus Gordon Gekko. It takes the fun out of back-room political sleaziness — and out of political integrity, too.
    • 46 Metascore
    • 42 Critic Score
    Home Alone 2: Lost in New York
    Here, the signs of Culkin’s limitations begin to emerge.
  10. Bitter Moon
    Sadly, the movie indicates that Polanski’s erotic narcissism may have consumed not just his life but, by all appearances, his art as well.
  11. Zack Snyder's Justice League
    Yet even compared to the glacial Marvel-Netflix Dramas, Zack Snyder's Justice League is a chore. At the end of the rainbow, viewers are left with the promise that the actual cool things will happen next time. This cut is no worse than the theatrical edition, but it sure is longer. "So begins the end," Steppenwolf declares. When he says that, there is one hour left.
    • 31 Metascore
    • 42 Critic Score
    Getting Even with Dad
    Culkin and Danson develop some comic chemistry that’s disarming only if you haven’t tired of both actors’ patented shticks by now.
  13. Alive
    Alive is an unsettling contradiction: a well-intentioned gross-out movie. It may be the first film in history to say that cannibalism is good for you.
  14. The Handmaid's Tale
    The Handmaid’s Tale is watchable, but it’s also paranoid poppycock — just like the book.
    • 33 Metascore
    • 42 Critic Score
    Fatal Instinct
    Too dopey to cut it as a theatrical release, but more knowingly and competently made than most of its straight-to-video analogues, this Carl Reiner-directed pastiche-parody of film noir occupies a lonely corner of video purgatory.
  16. Freejack
    The trouble with low-rent science-fiction movies is that beneath all the futuristic gimcrackery — the video phones and laser guns and hyperspace leaps, the obligatory time-travel setups — you realize, at some point, that you’re watching a routine urban chase thriller: Lethal Weapon 2000. For most of its running time, Freejack bounces and sputters along atop the usual action- movie chassis.
  17. Wrath of Man
    Wrath is just another loose bag of lizard-brain thrills and wood-block dialogue: too ugly to be camp, too grimly familiar to feel new.
    • 66 Metascore
    • 42 Reviewed by
      Ty Burr
    White Hunter Black Heart
    White Hunter, Black Heart wants to show us a specific heart of darkness — a man who, by striving to kill one of nature’s grandest creatures, hoped to annihilate part of himself — but the theme gets lost in shades of gray.
  19. White Sands
    White Sands, on the other hand, is a dud, the sort of movie that swathes its emptiness in layers of chic, swirling ”visuals.”
    • 31 Metascore
    • 42 Critic Score
    Repossessed
    For a movie seemingly written and directed by sophomore-year film students, Repossessed offers a number of laughs. Five. But it mainly demonstrates that Nielsen is at his best when leaving production duties to professionals.
  21. HouseSitter
    Every time Housesitter seems about to turn wild, it gets waterlogged with heart.
  22. Shotgun Wedding
    This Wedding clearly wasn't meant to be a masterpiece, but even as mid-winter fluff it feels like a rush job: a marriage made for lazy-Sunday streaming at best, 'til death — or more likely, a better script — do you part.
  23. Where the Crawdads Sing
    Director Olivia Newman (First Match) bathes the story in so many broad, creaky tropes and odd tonal shifts that nothing ever feels real for a moment.
  24. Sugar Hill
    Sugar Hill wants to tear up our insides, but I’m afraid the movie leaves us hooting with disbelief instead.
  25. Jurassic World Dominion
    Even with the original cast on board, there's surprisingly little chemistry or humor, and the movie makes repeated pit stops to stress family values.
    • 62 Metascore
    • 42 Critic Score
    Love at First Bite
    Every now and then things get so convoluted that some sort of humor is achieved, but waiting through setup, setup, explanation of hoary joke, and delivery of hoary joke gets old fast, especially when the jokes are racist.
  27. Sharp Stick
    The movie's final frame asks us to believe that Sarah Jo has finally, ecstatically found herself; by then, whatever reason we have for watching is already long lost.
  28. The Bubble
    Both directors have made much better movies; go watch one of those instead.
  29. She's the One
    In the end, we never know why anyone is the one for anyone. And this qualifies as a filmmaking problem, at least for us here on Earth.
    • 59 Metascore
    • 42 Critic Score
    Battle Beyond the Stars
    It’s hard not to admire a movie featuring a spaceship with D-cups and a title that has the nerve to one-up Star Wars — but if Lucas’ film is PlayStation 2, this one is hopscotch.
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