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 2.2 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. Trust
    Trust, the cult-movie view turns precious and smug.
  2. 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.
  3. Point Break
    Director Kathryn Bigelow is one of the new-style action wizards who’ve never quite mastered the nuts and bolts of telling a story.
  4. 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).
  5. Slacker
    The movie never loses its affectionate, shaggy-dog sense of America as a place in which people, by now, have almost too much freedom on their hands.
  6. Terminator 2: Judgment Day
    The movie is a great big feast of wreckage. But that’s also what makes it a bit numbing.
  7. The Naked Gun 2½: The Smell of Fear
    it’s consistently funny and inventive.
  8. The Rocketeer
    The Rocketeer is mostly an example of pop moviemaking at its most derivative.
  9. Robin Hood: Prince of Thieves
    As a piece of escapism, this deluxe, action-heavy, 2-hour-and-21-minute Robin Hood gets the job done. You’re carried along by plot, production values, and some choice supporting actors. Yet it’s a rouser without a rousing hero. Costner doesn’t disgrace himself — he has the star presence the role demands. What he’s not is an impassioned Robin Hood. And without the sense that Robin is on a humanistic mission (one that’s a pleasure to fulfill), the story has no charge.
  10. City Slickers
    Crystal’s ordinariness — his utter lack of glamour — really works for him here. He’s far more pleasureful to watch in this sort of dramatic-comedy role than, say, Robin Williams, because his comfy, urban-shlemiel personality helps ground the jokes.
  11. Don't Tell Mom the Babysitter's Dead
    On Married With Children, the baby-faced Applegate has a slutty spark. Here, the role is too straight, and she’s blah — an apple pie that’s neither sweet nor tart enough.
  12. Jungle Fever
    What’s missing from Jungle Fever, I think, is a vision of the positive. By that, I don’t mean some shallow ”optimistic” message but, rather, an organic and casual sense of pleasure as one of the sustaining currents of everyday life — even in a country as mired in racism as this one.
  13. Soapdish
    Soapdish makes the tackiness of soap operas seem far more desperate than funny.
  14. Backdraft
    Fire, as this movie makes clear, is nothing if not photogenic, and Howard has done a beautiful job of conjuring both its danger and its deceptive, primal beauty.
    • 89 Metascore
    • 75 Critic Score
    Thelma & Louise
    Never quite connects with us emotionally, yet the more it shades off into the gonzo-poetic, the more fun it becomes.
  16. Hudson Hawk
    This may be the only would-be blockbuster that's a sprawling, dissociated mess on purpose. It's a perverse landmark: the first postmodern Hollywood disaster.
  17. Drop Dead Fred
    As the naughty ghost pal of Phoebe Cates, an obnoxious British actor named Rik Mayall is like Michael Keaton’s Beetlejuice without the juice. In Drop Dead Fred, all he does is smash and spill things and say many, many potty words.
    • 47 Metascore
    • 25 Critic Score
    Only the Lonely
    Only the Lonely is for only the desperate.
  19. What About Bob?
    What About Bob? is just funny enough to make you wish it had been wilder and less predictable.
  20. 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.
  21. F/X2
    The movie itself is convoluted and almost unbelievably lackluster.
  22. Switch
    Switch leaves one feeling that Blake Edwards is more than a little confused.
  23. Europa Europa
    Europa, Europa isn’t the wrenching emotional saga it might have been.
  24. Toy Soldiers
    It’s Dead Poets Society meets Die Hard. The movie is competent, smoothly photographed, and pretty much free of false, baby-Rambo heroics. It’s so inoffensive that you can almost overlook its central drawback — that the students don’t have much personality.
  25. A Kiss Before Dying
    With its waxy color scheme and nonexistent pace, the movie is like an homage to Hitchcock’s worst period.
  26. 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.
    • 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.
  28. The Object of Beauty
    A mild but charmingly off-kilter romantic comedy that gently satirizes love in an era of buy-now-pay-later brinkmanship.
  29. Out for Justice
    What’s numbing about this sub-Eastwood potboiler isn’t just the grisliness of the violence but the absence of any possibility that Seagal will stumble, or show doubt or pain, or have to challenge himself in order to defeat his enemies.
  30. Poison
    Only one of the episodes, a satirical documentary about the mysterious disappearance of an enraged suburban boy, has much resonance on its own. A part of me wishes that Haynes had sold out after all: What’s truly revolutionary about this filmmaker — his perverse, ironic humanity — is only intermittently on display in this quasi-provocative formalist knickknack.
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