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. Hot Tub Time Machine 2
    It’s a comedy that’s so witless and unfunny and shoddily made it makes "The Hangover 2" look like "The Godfather 2."
  2. The Shadow
    The Shadow, like 1991’s The Rocketeer, tries to pass off its retro thinness as a quasi joke, but it’s a desperate strategy. The filmmakers seem to be kidding everyone — the audience and themselves — and that just leaves us waiting for this particular flashback to fizzle away.
  3. Paul Blart: Mall Cop 2
    Paul Blart: Mall Cop 2 does all it was created to do: exist.
    • 21 Metascore
    • 25 Critic Score
    Geostorm
    A disastrous disaster movie that is actually quite low on the disasters to its own detriment.
  5. The Best of Me
    Even with lowered expectations toward escapist fare taken into account, the film is a long slog, with Marsden and Bracey conveying little but Crest smiles and smolder, while Liberato and Monaghan are stuck doing endless cry-face.
  6. Criminal
    Criminal’s story moves like a fat cow. Costner and Oldman’s characters are sluggishly chasing after — irony alert! — a big black duffel back full of $100 bills, hidden behind a stack of George Orwell books.
  7. No Escape
    Even ignoring the racism — which is pretty much impossible — No Escape is a cliché-ridden, artless relic.
  8. Captive
    The thin story has been stretched like Silly Putty to feature-film length and the result is utterly see-through in its sledgehammer moralizing.
    • 30 Metascore
    • 25 Critic Score
    Stonewall
    There’s bad, and then there’s offensively bad.
  10. Norm of the North
    The animation already looks dated, and it feels as lazy as the bland narrative.
  11. The Book of Henry
    Lieberher delivered such a nuanced performance in Midnight Special (ditto Tremblay, in Room) that The Book of Henry can (we hope) just be chalked up to a case of early-career hiccups.
  12. Wiener-Dog
    In Wiener-Dog, Solondz just keeps telling the same dark joke over and over again—and it just keeps getting less and less funny. It’s a dog.
  13. Mother's Day
    If you love your mother, do not make her see this movie.
  14. Airheads
    The film’s most distinctive, if obnoxious, feature is the coy, look-at-what- an-adorable-doofus-I-am clowning of Adam Sandler, who here, as on Saturday Night Live, parades his ironic infantilism.
  15. Bulletproof
    Universal should have marketed this formulaic drivel as the taboo love story it really is, and then watched its stars run for cover.
    • tbd Metascore
    • 25 Critic Score
    Going Overboard
    At least the movie has archival value: an early appearance by Chicago Hope‘s Peter Berg, along with Billy Zane embarrassing himself as a favor to his wife, Liza Collins Zane, who costars in the film.
  17. The Bodyguard
    The Bodyguard is an outrageous piece of saccharine kitsch — or, at least, it might have been had the movie seemed fully awake. Instead, it’s glossy yet slack; it’s like Flashdance without the hyperkinetic musical numbers and with the romance padded out to a disastrously languid 2 hours and 10 minutes.
  18. Thinner
    Instead of exploiting the mystery and dread, or even the comedy, of Billy’s condition, Thinner turns into an excruciatingly low-grade pursuit thriller, with Billy hunting down the old Gypsy sage (Michael Constantine) who put the curse on him.
    • 43 Metascore
    • 25 Reviewed by
      Ty Burr
    City Slickers II: The Legend of Curly's Gold
    Everything about the movie feels secondhand, including the wheezy plot about a treasure map and buried gold. The real problem, though, is plain old sequel-itis: Because the first story completed the narrative of these characters, the only reason to make a second film is money.
  20. The Arrival
    The Arrival looks and feels awfully small and cheap. In that way, the movie does feel like those science-fiction classics of the ’50s. But back then, sweaty heroes didn’t utter lines of ’90s dialogue like ”I look like a can of smashed a–holes.”
  21. Cobb
    In Cobb, Jones seems trapped inside his own febrile personality. He’s so utterly, hyperbolically Tommy Lee Jones that his performance doesn’t begin to register as an imaginative look at who Ty Cobb was.
    • 37 Metascore
    • 25 Critic Score
    Cutthroat Island
    Who thought letting Harlin steer into Captain Blood territory was a sage idea? To a piece that’s intended as a comic, tongue-in-cheek romp, he brings the same brutal, slo-mo pyrotechnics that lit up both his hits (Die Hard 2, Cliffhanger) and his biggest previous miss (The Adventures of Ford Fairlane). Somewhere, Errol Flynn is wincing.
  23. The 15:17 to Paris
    Eastwood seems to be reaching for some level of realism, but when every single interaction feels like half-coded AI tried to recreate bro talk, it’s clear that a mistake has been made.
  24. 1492: Conquest of Paradise
    At 2.5 hours, 1492 is even harder to sit through than last month’s schlock extravaganza Christopher Columbus: The Discovery. In each case the filmmakers have fallen into a similar trap. Out of some vague mixture of historical ”duty” and commercial myopia, they’ve presented Columbus as the same cardboard visionary we learned about in school.
  25. Down Periscope
    Periscope is filled with such familiar faces as Bruce Dern and Rip Torn playing squabbling admirals, and Harry Dean Stanton in a tiny role as a grizzled engineer. None of them are used to good effect.
    • 11 Metascore
    • 25 Critic Score
    Death Wish II
    The shamelessly rehashed Death Wish II finds Kersey in L.A., methodically hunting down those responsible for his daughter’s death (just as she’s recovering from her assault in the first Death Wish).
    • 18 Metascore
    • 25 Critic Score
    Death Wish 3
    The preposterously Rambo-esque Death Wish 3 sends him to New York City’s bombed-out slums to mow down “creeps,” using machine guns and missile launchers.
    • 25 Metascore
    • 25 Critic Score
    Death Wish V: The Face of Death
    An appropriately absurd finale for a series that long ago went over the top.
  29. Bird on a Wire
    Bird on a Wire is far from inept-every one of those car chases is masterfully staged. Still, for most of two hours you’re pummeled with formula; it would be hard to name another movie at once so proficient and so dull. When a director as talented as Badham reaches this state of empty craftsmanship, who can say whether he’s working out of boredom or cynicism? At this point, there may be very little difference.
  30. Mercury Rising
    The nuttiest thing about Mercury Rising is that when Alec Baldwin, as the silky-voiced evil defense honcho, explains that he took his cutthroat actions to protect the lives of American undercover agents, he actually sounds quite reasonable. You can just about feel the imbecility rising.
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