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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    • 31 Metascore
    • 25 Critic Score
    The Big Hit
    It's tempting to brand the film anti-Semitic, but it's so utterly pointless it lacks even that distinction.
  2. Two Girls and a Guy
    The beauty of Two Girls and a Guy is that it presents us with a hero so craven, so indefensible in his duplicity, that his twin victims leapfrog past vengeance into an almost physical state of curiosity.
  3. The Object of My Affection
    So riddled with cultural stereotypes, woe-is-me neurotic mopiness, and glib therapeutic compassion that by the end all it leaves you with is a waxy buildup of falseness.
  4. Suicide Kings
    Just when you thought it was safe to go to the movies without sitting through another imitation of early Quentin Tarantino, along comes Suicide Kings.
  5. Nightwatch
    Nightwatch is a horror for reasons that have nothing to do with suspenseful moviemaking.
  6. Species II
    "Species" at least had the benefit of Henstridge's glazed porn-doll perversity, but this time any glimmers of sexual ominousness are buried in a lame, desultory chase plot and in the woefully underimagined special effects.
  7. City of Angels
    This is the sort of movie in which everyone on screen is swathed in gauzy benevolence. You practically have time to say a prayer in the dead spaces between lines.
    • 71 Metascore
    • 83 Reviewed by
      Ty Burr
    The Spanish Prisoner
    For once, too, David Mamet the director outshines David Mamet the writer.
  9. Lost in Space
    Is any of this, you know, fun? Just barely. But I'm sure I would have loved it at 6.
  10. 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.
    • 44 Metascore
    • 67 Reviewed by
      Ty Burr
    Barney's Great Adventure
    Barney’s Great Adventure is insipid, but it’s also harmless, and, besides, why shouldn’t toddlers enjoy the pleasures of their own kitsch?
  12. The Newton Boys
    Scored to a disarmingly quaint array of fiddle-and-banjo tunes, The Newton Boys has so little in the way of blood or rancor that before long, you begin to notice that there's no real drama in it, either.
  13. Wild Things
    A tricky-bordering-on-gimmicky film noir with a glaze of soft-core kink.
  14. Primary Colors
    One of those thrilling confluences in pop culture that rewards audiences for thinking the worst about politicians and the best about movie stars.
  15. Taste of Cherry
    This outstanding work — so meditative — is clearly an affirmation of life (and never more provocatively than in the film’s unusual coda, in which moviemaking itself becomes part of the discussion). It’s also so grounded in the real emotional scope of ordinary people that the magnitude of the subject is answered in the most mysteriously matter-of-fact way.
  16. Wide Awake
    The movie actually makes you long for the rockin’ entertainment value of a good catechism session.
  17. The Man in the Iron Mask
    Wallace, unfortunately, writes lazy, anachronistic dialogue, and the picture is abysmally shot (by Peter Suschitzky), with a prosaic, low-budget look that never allows you to experience the enraptured majesty of a fairy-tale historical setting.
  18. U.S. Marshals
    Efficient, uninspired sequel.
  19. Love and Death on Long Island
    A highly original Death in Venice-scented comedy drama written and directed with flair by British feature novice Richard Kwietniowski.
  20. The Big Lebowski
    Nearly everything in The Big Lebowski is a put-on, but all that leaves you with is the Coens' bizarrely over-deliberate, almost Teutonic form of rib nudging.
  21. Hush
    When you watch this failed horror thriller -- which has been under studio doctors' care for some two years, undergoing futile title changes and reshoots -- there's no respite from the odor of flop sweat stinking up the screen.
  22. The Real Blonde
    Modine, as a morosely self-involved actor, looks as if he's about to strangle someone -- and the movie, an attack on superficiality, never quite makes it out of the shallow end.
  23. Senseless
    Her setups here are so witless and pedestrian that there's no imagination to the crude slapstick punchlines; we're just watching a bland jester pantomime sensory overload.
  24. Palmetto
    Palmetto has a satisfyingly deceptive plot that ultimately takes one too many turns.
    • 66 Metascore
    • 58 Reviewed by
      Ty Burr
    Dark City
    It's a little short on coherence and long on comic-book sensationalism -- dig the hokey, climactic Battle of the Minds between the hero and a cadaverous Mr. Big -- but there's no denying the nightmarish pull of the film's aesthetic.
  26. The Wedding Singer
    As a romantic comedy, the picture is pleasant, predictable, and utterly weightless.
  27. Sphere
    Stripped of the pleasures of terror, flattened of grandeur (with a tacked-on coda that fairly groans with storytelling defeat), the movie sinks from the weight of its own heavyhandedness.
  28. The Replacement Killers
    Between cycles of gunfights and glowering, Yun-Fat displays some of the dignity and suave good looks that account for his star status (without much chance to show his wit).
    • 48 Metascore
    • 25 Critic Score
    Blues Brothers 2000
    The Blues Brothers may now just qualify as the most overextended one-joke shtick in history.
  30. Great Expectations
    The film is proof that if you repackage the classics (in this case, Dickens) for the youth market in an era of MTV dislocation, what you get, in essence, is postmodern Cliffs Notes with an alt-rock soundtrack.
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