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. Speed 2: Cruise Control
    Yet Speed 2 is as slow-moving as a garbage scow. Those blinking lights might as well be emanating from a vital-signs monitor. The story is dead in the water.
  2. Ulee's Gold
    Ulee's Gold is a story of redemption, and Nunez doesn't make redemption look any easier than it is.
  3. Con Air
    It's so shameless, so psychotically nervous about keeping you ''thrilled,'' that the phrase over the top won't do it justice. It's like a drug designed for people who've done every drug and now want to be jet-propelled into numbness.
  4. The Pillow Book
    I can't say that I've ever entertained fantasies of writing on someone's body. But Peter Greenaway's The Pillow Book (Cinepix) does, at least, succeed in making it look like an erotic activity.
  5. Addicted to Love
    Commits the cardinal sin of too many modern movies: It never gives the audience a clue why any of these people were ever attracted to one another in the first place. [30 May 1997, p. 54]
    • Entertainment Weekly
  6. Brassed Off
    There's a double meaning in the title of this folksy, relentlessly political, heavy-handed story, written and directed by Mark Herman and set among the coal mines of Yorkshire, England, in 1992.
  7. Love! Valour! Compassion!
    But the great revelation in this version is the terrific, beautifully controlled work of Alexander -- Seinfeld's most gifted actor, whose recent movie roles have not allowed him to show his range.
  8. Night Falls on Manhattan
    Night Falls on Manhattan makes you nostalgic for Lumet's truly first-rate corruption movies, like the great, underrated "Q&A" (1990).
  9. The Fifth Element
    The future-shock details are witty, the sets and skyscapes spectacular. Besson may not be a good director, exactly, but he's a wizard at retrofitting cliches.
  10. Fathers' Day
    If Fathers’ Day really had been released in the mid-’80s, I’d have said it was so funny I forgot to laugh.
  11. Nowhere
    A visual and aural overload that ultimately tires rather than conveys a feeling of f—-d up-ness.
  12. Austin Powers: International Man of Mystery
    A little of this sort of thing goes a long way, but no one does it better than Myers.
  13. Breakdown
    Breakdown feels at first so casual, so comfortable with its own small expectations (a good but unglamorous cast, a sturdy but unspectacular plot), that the authentic feelings of suspense are a surprise.
  14. Children of the Revolution
    Children bumps into a few dead spots along its irreverent way... But casual sophistication and wiggy Australian self-awareness give this product of unreconstructed bourgeois decadence its idiosyncratic charm.
  15. Romy and Michele's High School Reunion
    This sloppy, pleasant comedy by playwright and TV producer Robin Schiff (Almost Perfect) is an amiable mess, a padded-out expansion of a play called "Ladies' Room."
  16. Volcano
    I had a pretty good time at Volcano. The reason I didn't have a better time is that the characters aren't just schlocky, they're boring.
  17. 8 Heads in a Duffel Bag
    Aims for dark farce but ends up playing more like Weekend at Bernie's Part VIII. [25 Apr 1997, p. 50]
    • Entertainment Weekly
  18. Murder at 1600
    As directed by Dwight Little ("Free Willy 2: The Adventure Home," a morph of "The Day of the Dolphin" and "Lassie Come Home"), the tension-to-action sequences unspool efficiently.
  19. Traveller
    This fresh and interesting story about a tight-knit clan of Irish grifters in the rural South who make their living scamming is a ''con men on the road'' picture all the more welcome during a season of junky action thrillers and indie-style explorations of kinky sex.
  20. Grosse Pointe Blank
    High school reunions should only be this satisfying.
  21. Anaconda
    Directed by Luis Llosa with all of the subtlety of a snake-oil salesman, is in the great tradition of cinematic cheese, as processed as Kraft Singles slices. [18 Apr 1997, p. 48]
    • Entertainment Weekly
  22. Shall We Dance?
    Even when the catharsis we yearn for arrives, it's tinged with restraint. But then, the true romance in Shall We Dance? is more than personal. It's the spectacle of a nation learning to dance with itself.
  23. Paradise Road
    Beresford, who'd like to teach the world to sing, makes the moment as moving as a Coca-Cola jingle. It's not the real thing, but it's effective.
    • 44 Metascore
    • 50 Critic Score
    Schizopolis
    When it works, it's the best film of the year. When it doesn't, take cover.
  25. Inventing the Abbotts
    The only real heat among the group comes from Jennifer Connelly, who, as the bad-girl middle daughter, raises the stakes any time she's on screen.
  26. Chasing Amy
    The hit-and-run outlandishness of "Clerks" was a stunt. With Chasing Amy, Smith has made his first real movie.
  27. The Saint
    Top-heavy with whimsy, so muddled it makes Mission: Impossible look like a model of narrative cohesion, The Saint is the apo-theosis of the new incoherence, with the cliches of espionage and action thrillers jammed together like bumper cars.
  28. Double Team
    Double Team becomes an enjoyably decadent spectacle of gymnastic preposterousness.
  29. Love and Other Catastrophes
    A slight romantic comedy about five winsome Australian university students who fret and joke about their romantic woes when not talking about movies and cinematic theories. Each has a charming quirk — one (Frances O’Connor) is a cute lesbian, another (Alice Garner) is writing a thesis on Doris Day — but none is deeper than a bag of Reese’s Pieces.
  30. The Devil's Own
    In this quiet, absorbing, shades-of-gray drama, a kind of thriller meditation on the schism in Northern Ireland, we get the story of not one but two powerfully opposing heroes.
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