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. Mortal Kombat: Annihilation
    Fragmented and monotonous, without a semblance of the gymnastic cleverness that at least made the first Mortal Kombat film into watchable trash, Mortal Kombat Annihilation is as debased as movies come.
  2. The Jackal
    A trashy, frenetic remake of Fred Zinnemann's 1973 The Day of the Jackal, The Jackal is mired in blood, cheap shocks, and a random network of improbability.
  3. The Tango Lesson
    The Tango Lesson is about as far away from Al Pacino’s Scent of a Woman hotdogging as you can get; it really is about the scent of a woman, in all her fascinating peculiarity.
  4. Starship Troopers
    The movie is sensationally exciting, but its hey-kids-let s-put-on-a-war! story line plays like Beverly Hills, 90210 recast as a military-recruitment film for the Third Reich.
  5. Bean
    In this slapdash production directed by Mel Smith ("The Tall Guy" but also, alas, "Radioland Murders"), written by Richard Curtis ("Four Weddings") and Robin Driscoll, there's just enough unrepentant self-centeredness missing to take the hilariously brutish edge off Bean's game for those who know him.
  6. Eve's Bayou
    But the notable accomplishment of actress-writer Kasi Lemmons ("The Silence of the Lambs") in her feature directorial debut is in creating a landscape quite beautiful and entirely her own -- a fluid, feminine, African-American, Southern gothic narrative that covers a tremendous amount of emotional territory with the lightest and most graceful of steps.
  7. Mad City
    Director Costa-Gavras packs a whole lotta hectoring into this high-strung morality play about the broadcast media's culpability in the escalation of human drama into camera-ready Greek tragedy.
  8. Sick: The Life & Death of Bob Flanagan, Supermasochist
    If you see only one movie this year about a twisted, cuddly, courageous, fatally diseased, self-mutilating love slave, make sure that movie is Sick: The Life and Death of Bob Flanagan, Supermasochist.
  9. An American Werewolf in Paris
    The cruddy, shot-in-a-warehouse settings are especially depressing, since the computer-generated special effects seem to be taking place in another movie entirely (a far livelier one). [9 Jan 1998, p. 47]
    • Entertainment Weekly
  10. Happy Together
    The vignettes don't add up to a story, but Wong's nervy brio and subterranean-fantasy style make for an arresting work about an exotic subculture.
    • 64 Metascore
    • 67 Reviewed by
      Ty Burr
    Gattaca
    Sets, music, and imagery are rigorously controlled and undeniably stunning, but after a while flaws creep into the plot's double helix.
  12. A Life Less Ordinary
    The real problem is the movie itself. The plot, with its interlocking contrivances, is like a machine that keeps trapping the actors in its gears. Since they aren't allowed to relate to each other on a simple human level, the spangly back-and-forth chemistry on which a romantic comedy depends is nowhere in sight.
  13. I Know What You Did Last Summer
    The story has more holes than the bodies do, but the shocks are efficient, and Party of Five's Jennifer Love Hewitt knows how to scream with soul.
  14. The Devil's Advocate
    Embarrassingly entertaining.
  15. Gummo
    There's no artistic or thematic point — except maybe to demonstrate that a young filmmaker is as much in need of someone to say no as the characters in this disingenuous exercise.
  16. Telling Lies in America
    Kevin Bacon's passionate, sharply drawn portrayal of Billy Magic, a slick, finger-snapping, payola-pocketing disc jockey in early 1960s Cleveland, is the best thing about this conventional but heartfelt semiautobiographical coming-of-age story
  17. Boogie Nights
    Mark Wahlberg, in a star-making performance, has the kind of electric ingenuousness that John Travolta did in "Saturday Night Fever."
  18. The House of Yes
    The House of Yes is knowingly overripe, a kitsch melodrama that dares to make incest sexy.
  19. Seven Years in Tibet
    French director Jean-Jacques Annaud, who brought his interest in self-discovery and untamed places to Quest for Fire, The Lover, and the IMAX 3-D film Wings of Courage, is at his best re-creating the serene exoticism of the Dalai Lama's Tibet. But the spark of the holy that the Dalai Lama lights in Harrer flickers only fitfully in all the wind in this production.
  20. Year of the Horse
    Bluntly put, Neil Young’s music now has too much integrity and not enough hooks, and so does Year of the Horse. The rough-grain Super-8 images, while a nifty visual correlative to the Crazy Horse sound, deny us the fundamental pleasure of a concert movie — a sense of intimacy with the band’s performance.
  21. 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.
  22. Kiss the Girls
    Kiss the Girls is a fake psychological thriller that turns into a garishly schlocky and implausible bogeyman hunt.
  23. U Turn
    U-Turn is an overdue event, a chance for Stone to apply his hypnotic acid-trip-of-the-soul wizardry to something sexy and lowdown.
  24. The Ice Storm
    Kevin Kline is sweetly befuddled as a good man caught between worlds, and Sigourney Weaver, as a hard, sexy adulteress, makes her wit sting.
  25. The Peacemaker
    The essential spark of surprise is missing. The mechanics of ''breathless'' suspense are blanketed by an atmosphere of creeping caution.
  26. Soul Food
    In the tradition of such food-as-love films as "Eat Drink Man Woman" and "Big Night", kitchen work is idealized as a form of communion in this indulgently nostalgic story -- deep-fried with plot, script, and character cliches but honey glazed with goodwill...
  27. The Edge
    Tamahori proves that he can shape a studio picture effectively to his specs; his action sense is as personal as his screenwriter’s. As for Hopkins and Baldwin, the well-matched actors grab their parts with disciplined ferocity.
  28. L.A. Confidential
    Voluptuously engrossing.
  29. In & Out
    As a sharky, gay TV journalist investigating the story, Tom Selleck charms by playing in contrast to his own determinedly hetero persona.
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