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. Alligator
    Clever, funny, and wonderfully bloody.
    • 84 Metascore
    • 83 Critic Score
    Kagemusha
    An often breathtaking but slightly bloodless samurai epic.
    • 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.
  4. The Big Red One
    Lee Marvin, it must be said, is terrific as the platoon commander, and Fuller deserves props for the film's one sustained sequence: the D-Day attack, in which the platoon gets pinned on the beach for a hellish eternity.
  5. Star Wars: Episode V - The Empire Strikes Back
    The storytelling is the series' best, with a zingy balance of drama, humor, and Deep Thoughts (in a screenplay by Leigh Brackett and Lawrence Kasdan, directed with confident exuberance by Irvin Kershner). [Special Edition]
  6. Foxes
    It’s really one of the very first, very early Gen-X movies (the true first one, to me, is 1978’s terrific Over the Edge), and I was struck all over again by the freshness of what it captured: these four prematurely jaded adolescent girls, led by Jodie Foster as the sensible one, living like baby adults, cut off from their parents and the past, bonded only by attitude, consumerism, and the pop-culture decadence they share.
    • 62 Metascore
    • 75 Critic Score
    The Human Factor
    The Human Factor, a spy saga and Preminger’s final film, is an overlooked gem.
    • 61 Metascore
    • 67 Critic Score
    The Jerk
    The Jerk‘s threadbare plot follows the brilliantly convoluted story.
    • 45 Metascore
    • 75 Critic Score
    Buck Rogers in the 25th Century
    The fun is in watching hacky Gil Gerard, a.k.a. Lucky Buck, smirk his way from cleavage-baring space pilots to midriff-revealing aliens to distressed damsels in every corner of the galaxy.
    • 54 Metascore
    • 50 Critic Score
    Yanks
    The sketchy story simply isn’t strong enough, nor the characters sufficiently involving, to sustain interest for nearly 2 1/2 hours.
    • 44 Metascore
    • 42 Critic Score
    More American Graffiti
    A coming-of-age picture that never arrives.
  12. The Lady in Red
    Lady is a surprisingly powerful gangster flick about a mystery woman whose public-enemy path briefly overlapped with John Dillinger’s in the ’30s. It’s just one of many Bonnie and Clyde knockoffs Corman cranked out at the time, but there’s real artistry alongside the violence and nudity in this one.
    • 60 Metascore
    • 75 Critic Score
    Meatballs
    More Murray-centric scenes were shot after a test screening showed that little without him worked.
  14. Alien
    Pay attention to the enhanced detail audible in a new six-track sound mix, which may be the most important cleaning job of all; silence and Jerry Goldsmith's score have never twined so hauntingly.
  15. La Cage aux Folles
    Like many of the best farces, from The Importance of Being Earnest to Cactus Flower, it draws its humor from characters pretending to be something they’re not.
    • 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.
    • 49 Metascore
    • 58 Critic Score
    Magic
    From the start, Hopkins forgoes the subtle route and heads straight over the top, squeezing what fun there is out of William Goldman’s humorless script.
  18. Halloween
    Carpenter's brutally efficient exercise in tension and release.
    • 53 Metascore
    • 16 Critic Score
    The Wiz
    Whatever fun this funked-up Wizard of Oz had on Broadway is erased by miscasting and a hideous design (Oz as a New York slum).
    • 79 Metascore
    • 91 Critic Score
    An Unmarried Woman
    In An Unmarried Woman, Paul Mazursky’s realist look at the dissolution of a marriage, Jill Clayburgh brought its effects to near-harrowing life.
    • 77 Metascore
    • 83 Critic Score
    Saturday Night Fever
    Travolta molds what could have been an equally obvious character into a substantial, tragic figure.
    • 48 Metascore
    • 75 Critic Score
    Eaten Alive
    Blackly comic elements do little to blunt the unsettling aura created by the garish lighting and intense dentist-drill ”score.”
    • 36 Metascore
    • 50 Critic Score
    Airport '77
    Silly as it is (c’mon, helium balloons?), Airport ’77 is the most suspenseful of the series, with death looming over a planeload of Oscar winners, each trying to out-ham the others before their oxygen runs out.
    • 72 Metascore
    • 100 Critic Score
    Pumping Iron
    Arnold conquers all comers, your heart, and the world!
  25. The Shaggy D.A.
    The only thing that could possibly be any better is a field-goal-kicking mule.
  26. Carrie
    One of the most important movies of my life. It’s one of the two films, the other being Robert Altman’s Nashville, that made me want to be a critic. And that’s because Carrie did more than thrill, frighten, and captivate me; it sent a volt charge through my system that rewired my imagination, showing me everything that movies could be.
  27. Network
    Timeless and essential.
    • 70 Metascore
    • 75 Reviewed by
      Ty Burr
    The Boy in the Plastic Bubble
    A stricken teen trapped in a polyurethane isolation tent. That’s a potent metaphor for adolescence, which may be why this made-for-TV movie was a rite of passage for an awful lot of us.
  29. Deep Red
    A Freudian honey trap of murder and women straight out of Italian Vogue.
    • 65 Metascore
    • 83 Critic Score
    The Missouri Breaks
    It’s quite good.
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