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. Jack
    it's a synthetic, rather drab movie, one that seems linked less to experience, or even to fantasy, than to other movies - "Big," of course, and also "E.T.," "Mask," and "Phenomenon."
  2. Escape from L.A.
    Carpenter never was the filmmaker his cult claimed him to be, but in Escape From L.A., he at least has the instinct to keep his hero moving, like some leather-biker Candide.
  3. Emma
    Perhaps the highest praise that can be given Paltrow is that there are no appreciable performance gaps between her green talents and the rest of the truly top-drawer cast.
    • 72 Metascore
    • 75 Reviewed by
      Ty Burr
    Matilda
    Clearly, a lot of grown-up types are going to despise Matilda: gym teachers, school psychologists, used-car salesmen, critics who like their family fare immobilized by homiletic virtue. But kids will understand.
  5. Chain Reaction
    Chain Reaction, while crisply shot, unfolds in an action-suspense-thriller void. The movie’s emblem might be the terse, bureaucratically impersonal performance of Morgan Freeman, who, as the energy project’s chief government liaison, manages to play the film’s most ambiguous character without raising its dramatic temperature one degree.
  6. A Time to Kill
    A slick, synthetic, self-important drama that thinks it is saying more than it is simply because of its subject matter.
  7. Trainspotting
    It would be hard to imagine a movie about drugs, depravity, and all-around bad behavior more electrifying than Trainspotting.
  8. The Frighteners
    The Frighteners is also that rare horror film that actually gets better as it proceeds; this scare machine has a heart and a brain.
  9. Walking and Talking
    Walking and Talking is saved from utter banality by a script dotted with occasional buoyant moments of tenderness and wit, as well as by the light touch of its attractive cast.
  10. Multiplicity
    Ramis’ talented, underused SCTV colleague Eugene Levy makes a brief, welcome appearance as a nuttily dim cement contractor, but he’s a zany interlude in an otherwise muted, unzany tale.
  11. Independence Day
    It's the first futuristic disaster movie that's as cute as a button. Which, when all the special effects blow over, is what we Americans like in a monster hit.
  12. Phenomenon
    Phenomenon (directed by Jon Turteltaub, the guy who sedated us with "While You Were Sleeping") would be pretty unbearable were Travolta not so consistently charming.
  13. The Nutty Professor
    More than just a walking fat joke, Sherman Klump is Eddie Murphy's winking rebuke of his own arrogance.
  14. Striptease
    Striptease lets down its own performers right along with the audience. It’s a Christmas tree someone forgot to string with ornaments.
  15. Lone Star
    The biggest problem with Lone Star is that colorful Charley Wade isn't the center of the movie -- it's bland Sam Deeds. Cooper isn't a compelling enough movie star to carry us along some of the film's more languid twists and turns.
  16. Eraser
    And the guy is really good at his job: He knows how to combine impossibly macho action plus attractive self-amusement into a reliable rhythm of ooof! and wink-wink.
  17. The Hunchback of Notre Dame
    The Hunchback of Notre Dame is a beautiful and transporting experience — the best, I think, of Disney’s serious animated features in the multiplex era.
  18. Stealing Beauty
    Can Tyler act? Impossible to say. Bertolucci's neatest trick is to have constructed the movie around Tyler's gawky unself-consciousness.
  19. The Cable Guy
    The movie flirts with a darker Carrey, but, ironically, most of it gives us a safer Carrey, an anarchist caught in routines too patterned to let him break loose.
  20. The Rock
    Sean Connery and Nicolas Cage inject tasty bits of personality into their roles.
    • 53 Metascore
    • 58 Critic Score
    The Phantom
    Yet the raiders-of-the-lost-bones plot and period detail remind us that post-Indiana Jones, a cliff-hanger needs action more blockbuster than lackluster, plus dialogue better balanced between winking kitsch and comfort-food corn.
  22. Heavy
    Mangold, who also wrote the script, has made a modern-day "Marty", a kitchen-sink drama that doesn't condescend to its characters.
  23. The Arrival
    The Arrival looks and feels awfully small and cheap. In that way, the movie does feel like those science-fiction classics of the ’50s. But back then, sweaty heroes didn’t utter lines of ’90s dialogue like ”I look like a can of smashed a–holes.”
  24. DragonHeart
    Instead of being drawn into Dragonheart‘s tale of swords and sorcery, I frequently sat there thinking things like Gee, I wonder how much time it took Connery to record his lines. It’s too bad, because in other respects Dragonheart is a corker.
  25. Spy Hard
    I'm happy to report, though, that even a dud like Spy Hard can't completely douse the stumbling Zen charm of Leslie Nielsen, whose genius is that he never quite sheds the illusion that he isn't in on the joke.
  26. Mission: Impossible
    It's a movie of profoundly convoluted pop pleasures. Between dazzling suspense sequences, it invites the audience to work for a good time.
  27. Flipper
    One reason the Flipper flick is worse than the TV show: Bland, mannered Paul Crocodile Dundee Hogan plays Sandy’s uncle, Porter Ricks, instead of television’s wonderfully grumpy Brian Keith.
  28. Twister
    And for a movie that stars acts of God, this work of mortals provides surprisingly little liftoff. The stuff that whips through the angry skies in Twister is the most exciting part of the spectacle. Essentially, we're turned on by debris.
  29. Dead Man
    The film has barely started, and already we can tell what we're in for -- two hours of metaphysical drift.
  30. Cold Comfort Farm
    Around town, Stephen Fry ("Peter's Friends"), as a fluty artiste, dogs Flora with his devotion and declares, "I'm engorgedly in love with you!" That's how I feel about this gem.
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