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. Sleepers
    By the end, the main thing that's been abused is the audience's intelligence.
  2. Jude
    It's worth seeing this stark adaptation of Thomas Hardy's Jude the Obscure just for the extraordinary performance of Christopher Eccleston as Jude Fawley, the stonemason in turn-of-the-century England whose dreams of university scholarship are thwarted. And British telly director Michael Winterbottom sustains a fine atmosphere of dank misery.
  3. Get on the Bus
    In Get on the Bus, director and material come together with perfect ease — one of those occasional confluences of subject and strengths that make a moviegoer go, ”Of course!” Of course Spike Lee throws all of his bravado, all his storytelling talents, and all his artistic chutzpah into a movie about last year’s Million Man March.
  4. The Chamber
    The Chamber goes so far toward humanizing bigotry it ends up sentimentalizing it.
  5. Michael Collins
    For whatever reason, Michael Collins is a troublesome movie, a film about a religious war in which religion is almost entirely absent; a flick that gives us our kicks with thrillingly shot terroristic violence while paying lip service to pious antiviolence sentiments.
  6. The Long Kiss Goodnight
    Ultimately, however, Kiss is too ridiculous to engage us as a thriller yet too cringingly self-conscious to amuse us as camp.
  7. Trees Lounge
    Trees Lounge is so deft, funny, and light-handed it may not be until the film’s shattering final image that you realize you’ve been watching one of the most lived-in portraits of an alcoholic ever made.
  8. The Ghost and the Darkness
    But the very thing that drew the two actors to this ripping yarn — their enchantment with playing archetypes of male power — is the very thing that undoes their awfully big adventure.
  9. Microcosmos
    The revelation of Microcosmos isn’t just that the insect world has a complex and stirring order — it’s how close these bugs come to having minds.
  10. Bound
    The true pleasures of Bound lie in the Wachowskis' inventive updated take on film noir traditions, sensuously realized by cinematographer Bill Pope ("Clueless").
  11. That Thing You Do!
    That Thing You Do! is neither overly sentimental nor overly cynical. It looks at the invention of our pop-rock mythology, and the bands that fed it until they were consumed by it, just as you'd expect Tom Hanks to: with open eyes (and a raised eyebrow).
  12. Secrets & Lies
    A crowd-pleaser, all right, but, for all its appeal, a naggingly sanctimonious one.
  13. 2 Days in the Valley
    Writer-director John Herzfeld blends violence and top-heavy absurdism, creating a self-conscious muddle of indie-style hackery. Strip away the goofball nihilism, though, and what’s left is as formulaic as any straight-to-tape opus with a title like "Dangerous Instinct."
  14. Extreme Measures
    Apted keeps the speechifying and dramatic poses away from Grant (poor Hackman’s the one forced to say, ”If you could cure cancer by killing one person, wouldn’t that be the brave thing to do?”). And he gives the star room to do clean work without the fussiness that marred Nine Months.
  15. Big Night
    The real feast is in the mix of characters, each so finely and unschmaltzily delineated in a script so confident and controlled that even the most passing of participants comes alive.
  16. The First Wives Club
    The First Wives Club has all the conviction a comedy of female vengeance needs. But as soon as the dumb plot takes over, the wit leaks out of the movie like helium from a balloon.
  17. Surviving Picasso
    Cool, assured, emotionally remote, Merchant Ivory's Surviving Picasso is never less than watchable, but it's also a cinematic paradox, a movie that works to capture Picasso from every angle yet somehow misses the fire in his belly.
  18. Last Man Standing
    Writer-director Walter Hill follows up last year’s nuanced, underrated Wild Bill with this numskull, overwrought shoot-’em-up.
  19. Feeling Minnesota
    Feeling Minnesota suggests Sam Shepard trying to be Quentin Tarantino. It makes even gun battles seem pretentious.
  20. Fly Away Home
    Ballard, working from a screenplay by Robert Rodat and Vince McKewin, lets the melancholy hang in the air with a few too many poetic shots of the lonely girl. But as Thomas teaches Amy how to spread her wings, any lacy sentimentality (as well as the jarring tree-hugger subplot about meanie land developers) falls away, revealing the soaring beauty of the flying sequences.
  21. Bulletproof
    Universal should have marketed this formulaic drivel as the taboo love story it really is, and then watched its stars run for cover.
  22. The Trigger Effect
    Until he wraps things up much too neatly and idealistically, Koepp puts together a sturdy and efficient thriller.
    • 15 Metascore
    • 33 Reviewed by
      Ty Burr
    Carpool
    Carpool is affably stupid Saturday-matinee fare -- good for opiating the kids for a few hours -- but let's just say it's no Big Bully.
  24. A Very Brady Sequel
    The most impressive thing about A Very Brady Sequel is the shrewd care that has once again been taken to evoke the look and tone of the endlessly repeated, ultimate ’70s family sitcom.
  25. She's the One
    In the end, we never know why anyone is the one for anyone. And this qualifies as a filmmaking problem, at least for us here on Earth.
  26. The Island of Dr. Moreau
    He’s become such an obvious parody of himself that Frankenheimer has permitted Kilmer to do a wicked mid-movie impersonation of Brando’s character; it’s funny, but it also gives The Island of Dr. Moreau an extra layer of camp it certainly didn’t need.
    • 60 Metascore
    • 91 Critic Score
    Tin Cup
    Has a genial, funky charm.
  28. The Fan
    There's no denying that Scott is a wizard of the narcotic-flash school. In The Fan, he uses his chromium-edged technique to evoke a dread-saturated consumerist America in which the most beloved institutions have grown mercenary and hard.
  29. Kansas City
    So much is satisfying in KC that its shortcomings are all the more discordant.
  30. Basquiat
    Basquiat is an engrossing spectacle, but by the end, as a zoned-out Basquiat stands regally in a cruising Jeep, we realize that Schnabel has reconfigured his story as a kind of ghostly myth, and that we've never completely seen the man behind it.
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