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. Selena
    The best thing going for Selena is Selena herself, played with verve, heart, and a great deal of grace by the increasingly busy Jennifer Lopez (Money Train, Jack, Blood & Wine).
  2. Liar Liar
    Jim Carrey entertains himself mightily in Liar Liar, and his enthusiasm is infectious.
    • 53 Metascore
    • 42 Reviewed by
      Ty Burr
    Crash
    The only entertainment value is in imagining Turner's apoplexy when he watched Spader having sex with Rosanna Arquette's leg wound.
    • 54 Metascore
    • 42 Critic Score
    The Substance of Fire
    Rifkin's descent into madness is Shakespearean in scope, but the rest (except Parker) are precious. Fire? Duraflame. [18Jul1997 Pg.90]
    • Entertainment Weekly
  5. Love Jones
    Still, even when the plot sags, the erotic moodiness of Love Jones remains fresh.
  6. Private Parts
    Shaped and softened by producer Ivan Reitman, screenwriters Len Blum and Michael Kalesniko, and director Betty Thomas, however, the movie-star Stern is a defanged tiger, funny but tranquilized.
  7. Jungle 2 Jungle
    Tim Allen doesn’t do anything new in Jungle2Jungle, but he’s got that Allen-via-Disney persona operating at maximum efficiency.
  8. The Daytrippers
    The Daytrippers has some of the wacky dysfunctional chic that made David O. Russell’s Flirting With Disaster such a grating experience, but writer-director Greg Mottola has a lighter, warmer touch; his characters don’t have to act like pigs in order to prove they’re human.
    • 77 Metascore
    • 91 Critic Score
    Donnie Brasco
    It's the electric interplay between Pacino and Depp that will make it a Mob movie classic.
  10. Hard Eight
    Writer-director Paul Thomas Anderson crafts a plot of manipulation and chance, in which some zigs and zags are more convincing than others. Still, his feel for scuzz, for people living at the raw extremes of appetite, is palpable.
  11. Smilla's Sense of Snow
    Drips along about as slowly as a polar ice cap and leaves both those who know the international thriller on which this creepy-doings-off-the-coast-of-Greenland yarn is based and those who don't out in the cold.
  12. Booty Call
    There are moments of lewd hilarity, like a game of footsie that turns genderifically confused. But Booty Call loses its dirty-minded, how-low-will-they-go-to-get-laid edge when the boys venture out into the New York night to buy condoms.
  13. Lost Highway
    Lost Highway has scattered moments of Lynch's poetry, but the film's ultimate shock is that it isn't shocking at all.
  14. Rosewood
    As the village is destroyed, its people humiliated, hunted down, and murdered, Singleton brings the images and underlying psychological truths of American racial violence to the screen with a brute dramatic force that few directors have matched.
  15. Fools Rush In
    The result is a stilted culture clash and a lot of monochromatically conflicted facial expressions from Perry before he's thawed by the love of an ethnic woman.
  16. Absolute Power
    Glum and depersonalized, as if Eastwood couldn't muster the energy to guide us through this maze of improbable twists. [14 Feb 1997, p. 39]
    • Entertainment Weekly
  17. Dante's Peak
    It hardly helps, of course, to have no characters to root for. What is it about Pierce Brosnan? He's got dimples, grace, charm; he's not a movie star, exactly -- he looks as if he should be hosting something.
  18. SubUrbia
    Driven by Bogosian's finger-snapping dialogue and theatrical structure, subUrbia doesn't allow for much pleasurably Linklaterish lounging; each character has got some serious orating to do before the night is over.
  19. Waiting for Guffman
    A madcap gem.
  20. Fierce Creatures
    Mostly a mess: toothless when it should be nasty, not so much madcap as merely frantic.
  21. Prefontaine
    But in this standard athlete-dies-young presentation, we never do catch the magic that made Steve Prefontaine a towering figure. Instead, this Pre is a shaggy-haired, sentimental favorite -- a teen angel rather than an Olympian.
  22. Mother
    The best reason to see Mother is the deliciously off-kilter performance of Debbie Reynolds, who speaks in pure honey-sweet tones yet keeps planting tiny seeds of disapproval, using her maternal ”concern” as an invisible form of warfare. You never quite catch her doing it; the character doesn’t even know she’s doing it. She just is who she is, and by the end you realize that that’s her glory.
  23. Albino Alligator
    Ultimately, the talented cast -- among them M. Emmet Walsh, Faye Dunaway, Skeet Ulrich, and Viggo Mortensen -- play to their easiest star turns rather than their most interesting strengths.
  24. Beverly Hills Ninja
    But when the writers run out of ideas, they simply have Farley walk into a lamppost, or cop from old SNL skits.
  25. Metro
    In Metro, he’s been replaced by a slick, businesslike machine of an actor, playing an uninspired variation on the Axel Foley character he’s done for over a decade now, since starring in 1984’s Beverly Hills Cop. Only this time he’s not even funny.
    • 55 Metascore
    • 58 Reviewed by
      Ty Burr
    The Relic
    If you can stagger around the plot holes (how'd a Brazilian cargo ship with a dead crew get to Lake Michigan?), the last 30 minutes are pure, dumb monster-movie fun.
    • 56 Metascore
    • 50 Critic Score
    Ghosts of Mississippi
    What with Goldberg’s somnambulistic nobility, and the fact that this is yet another civil rights movie in which the struggles of black Americans take a backseat to the heroics of wealthy white guys, Woods’ presence is the least of Ghosts‘ problems.
  28. The People vs. Larry Flynt
    The film catches us by surprise in its moving portrayal of the love between Larry and Althea, played by Courtney Love in a performance that glides from kinky abandon to stark tragedy.
  29. Evita
    Technically, Madonna's singing is beautiful -- elegant, silky, refined. Yet there's no fire, no twinkle of ambitious joy, to her performance. Her face is fixed, almost tranquilized -- a porcelain mask.
  30. Michael
    The director, Nora Ephron, displays her peerless gift for making everything seem snappy and mushy at the same time, and Travolta's performance has a slovenly, I-can-do-anything-and-you'll-still-love-me obnoxiousness.
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