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 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. Fathers' Day
    If Fathers’ Day really had been released in the mid-’80s, I’d have said it was so funny I forgot to laugh.
  2. The King's Man
    But for all its faults, The King's Man is at least hilariously bad in the way that emotionless, made-by-committee blockbusters like Star Wars: The Rise of Skywalker are not.
  3. Night of the Living Dead
    In the history of bad ideas, George Romero’s decision to produce a color remake of his disturbingly frenzied 1968 zombiefest Night of the Living Dead has to rank right up there with New Coke.
  4. Space Jam: A New Legacy
    Algorithmically speaking, it's no slam dunk.
  5. Endings, Beginnings
    If ever there was a movie to suffer to, Endings, Beginnings is it.
  6. Tales from the Crypt: Demon Knight
    To call Demon Knight a popcorn movie is to give it too much credit — I doubt it would raise the pulse of Orville Redenbacher.
    • 38 Metascore
    • 33 Critic Score
    Sister Act 2: Back in the Habit
    To say the script is lame is to be charitable, but Whoopi’s irrepressible charm makes the nunsense watchable. Once again Hollywood doesn’t know when to leave well enough alone: Renting this sequel is like advancing a grade and getting last year’s teacher.
  8. Blonde
    The main thing the movie misses in portraying Marilyn solely as a tragic sex bomb isn't just the pleasure that Monroe herself brought to millions, but de Armas's inner light too. The spark and vitality so evident in previous projects like Knives Out and No Time to Die has been smothered down to one note: walking wound. What's left is mostly empty iconography and a few indelible images, a bombastic curiosity wrapped in the guise of high art. Some like it cold.
  9. Jack Frost
    Jack Frost is so treacly and fake it makes you feel like you’re trapped in a winter-wonderland paperweight.
  10. Malcolm & Marie
    The whole movie comes across as deeply self-conscious, more concerned with how it sounds than what it's saying, consumed with impressing people rather than expressing something.
  11. A Good Man in Africa
    Disappointingly tired, unfunny, and disengaged.
  12. For Love or Money
    By now, I’m not sure even Donald Trump could love a movie that asks us to get misty-eyed over real estate.
    • 65 Metascore
    • 33 Critic Score
    Mortal Thoughts
    Directed by Alan Rudolph (Choose Me), this tedious film, rife with flashbacks and slow-motion sequences that underscore the already overbearing plot and exaggerated characters, fails both as a mystery and as a statement on marital violence.
  14. Oscar
    Every chuckle feels engineered. Stallone is reduced to playing straight man to a gaggle of stock Damon Runyon hoods, though Tim Curry, looking like a stuffed cod, brings a prissy, nerdish glee to the role of a madly obsequious linguistics professor.
  15. Texasville
    The Last Picture Show was a mood piece drenched in acrid despair. Texasville is two hours of flat, Southern Gothic whimsy. The movie has the form of a soaper without the juicy content.
    • 68 Metascore
    • 33 Critic Score
    Avalon
    The movie is the visual equivalent of a stranger picking out highlights from his family album and providing brief descriptions of them. Everything that happens in Avalon, be it happiness or trauma, is infused with the same tone. The result is test-pattern emotion; everything’s on the same level. There’s no discrimination and, hence, no drama.
    • 34 Metascore
    • 33 Critic Score
    Freejack
    Directed by Geoff Murphy, Freejack is rife with run-of-the-mill action sequences and glaring inconsistencies.
  18. Hardware
    Had the killer droid been conceived as a charismatic demon, Hardware might have delivered some B-movie kicks. As it is, there’s nothing particularly scary or awesome about this low-tech walking junk pile. It’s as if someone had remade Alien with the monster played by a rusty erector set.
    • 44 Metascore
    • 33 Reviewed by
      Ty Burr
    Chasers
    Hopper peppers the cast with his usual assortment of fringe players (Dean Stockwell, Crispin Glover, Seymour Cassell), but his own cameo as a horny salesman is an embarrassment, and the dreadful script mistakes cuss words for wit every step of the way.
  20. Moonfall
    Mostly, though, as TV newscasters inform us, civilization has taken a serious nosedive — definitely the case when a well-financed Emmerich disaster flick can't even get its dumb-fun groove on.
  21. Flesh and Bone
    In Baker Boys, Kloves crafted a melancholy vision laced with ripe possibilities for pleasure and love. But the movie was (inexplicably, to me) a commercial disappointment, and Kloves, perhaps as a delayed response, has returned with a vision drained of joy, freedom, excitement.
  22. The Princess
    King is an engaging actress to watch, if she only had an actual backstory, but the movie is so relentlessly romp-y and blood-splattered it quickly becomes numbing.
  23. Gang Related
    Belushi certainly proves that he can play an uncharismatic lout with conviction, but the talented Shakur is — literally — wasted in his final screen performance.
  24. If Lucy Fell
    Quick, get the bug repellent, it’s another infestation of clueless, chatty, goofily dressed Gen Xers flitting around the scary idea of love!
  25. Back to Black
    There’s no desire to interrogate her artistry or to grant a portrait of what made her tick. In this rendering, Winehouse is made up purely of audacity, vocal theatrics, and addiction-fueled behavior. When it comes to this surface-level exploitation of Amy Winehouse’s life, just say no, no, no.
  26. North
    North is structured like a black-comic Wizard of Oz, but by the time North awakens from his dream, even home doesn’t seem like a place worth visiting.
  27. The Book of Eli
    A ponderous dystopian bummer that might be described as "The Road Warrior" without car chases, or "The Road" without humanity.
  28. The Boondock Saints II: All Saints Day
    Earns points only for being remarkably unself-conscious about its across-the-board ineptitude.
  29. Gamer
    As the brutish Kable, Gerard Butler must find out who's pulling his strings, but it's the audience whose chain gets yanked by this headache-inducing techno-violent mishmash.
  30. All About Steve
    A creepy, humiliating ''comedy,'' playing to Bullock's worst instincts for demonstrating the lovability of women who don’t fit in.
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