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. City Hall
    In the course of City Hall, Calhoun doesn’t just get to the bottom of a scandal. He grows up, and watching Cusack enact the transformation, I thought I glimpsed this gifted young actor growing into a star.
  2. Beautiful Girls
    Directed, with overfondness for the goofy ways of guys, by Ted Demme and written, with overfondness for the sound of guys pontificating about nothing, by Scott Rosenberg.
  3. Broken Arrow
    With its lightweight hero and its random spray of ''high-powered'' action, Broken Arrow is like an underpopulated version of The A-Team. It's not just John Woo who gets swallowed up by the impersonal mechanics of big-budget mayhem. It's the audience, which pays for a sleek, dark thriller and gets recycled pulp instead.
  4. White Squall
    White Squall is lovely to look at, but frustrating to behold.
  5. Restoration
    Blinking his puppy-moist eyes and grappling with an English accent, Downey struggles so manfully in the role that one cuts him a lot of slack; working earnestly on her Irish brogue and mussing up her cupcake demeanor in the service of verisimilitude as a wise madwoman, Meg Ryan’s performance is, refreshingly, less precious than she’s been in a long while.
  6. From Dusk Till Dawn
    Imagine two movies...The first is a moody thriller about two brothers who pull off a bank job, take a family hostage, and head for Mexico. The second is a garish horror freak-out. The deranged hook of From Dusk Till Dawn is that it starts out as the first movie and turns, on a dime, into the second.
    • 59 Metascore
    • 91 Reviewed by
      Ty Burr
    Mr. Holland's Opus
    The film captures how the constant turnover of students keeps educators poised between loss and rebirth, fuddy-duddyism and eternal kiddishness. That balance is there, most pleasurably, in Dreyfuss’ performance. The wonders of makeup and hairpieces have taken 20 years off his age, and his acting feels 20 years younger, too. He has an edgy vigor here that recalls his ebullient star turns of the late ’70s.
    • 1 Metascore
    • 42 Critic Score
    Bio-Dome
    Even with the low expectations any reasonable viewer brings to a Shore flick, this rates only stupid-plus. The bongs-and-pajamas set, though, should be riveted.
  9. Dunston Checks In
    Director Ken Kwapis fills the movie with feeble references to Planet of the Apes and King Kong that don’t amuse adults and sail over the heads of tykes who snicker most at the raspberries Dunston blows at anyone he meets.
  10. Eye for an Eye
    It’s an exercise in mad-as-hell vigilantism. And to reinforce the absurdity of what fury can be unleashed in a woman when a killer smirks, Sally Field — the Not Without My Daughter star herself — plays the ponytailed mom with the itchy trigger finger.
  11. Two If by Sea
    If you had never encountered Bullock’s patented brand of appealingly unglamorous, warm-eyed gal before this dispiriting production, you might think the star of Speed and The Net was nothing more than a Marisa Tomei knockoff.
  12. Twelve Monkeys
    As the jabbering psychotic Jeffrey Goines, Brad Pitt has a rabid, get-a-load-of-me deviousness that works for the film's central mystery: We can't tell where the fanatic leaves off and the put-on artist begins.
  13. Dead Man Walking
    A bold, searching, wrenching experience. It may be the most complexly impassioned message movie Hollywood has ever made.
    • Entertainment Weekly
    • 86 Metascore
    • 67 Critic Score
    Richard III
    Watching the splendid Ian McKellen embody any Shakespeare character is always a pleasure, and his slithery portrayal here of the Bard’s most hissable villain is a treat.
    • 37 Metascore
    • 25 Critic Score
    Cutthroat Island
    Who thought letting Harlin steer into Captain Blood territory was a sage idea? To a piece that’s intended as a comic, tongue-in-cheek romp, he brings the same brutal, slo-mo pyrotechnics that lit up both his hits (Die Hard 2, Cliffhanger) and his biggest previous miss (The Adventures of Ford Fairlane). Somewhere, Errol Flynn is wincing.
  16. Shanghai Triad
    Also starring: the landscape, beautifully photographed by cinematographer Lu Yue. The look is rosily glamorous in sophisticated Shanghai, and mistily poetic on the quiet island to which the mobster and his party escape.
  17. Heat
    We're not watching McCauley and Hanna anymore; we're watching De Niro and Pacino trying to out-insinuate each other. For a few moments, Heat truly has some.
  18. Jumanji
    Jumanji is cardboard Spielberg, a B-movie scrap heap of spare parts lifted from "Jurassic Park" and "Gremlins" and "Back to the Future".
    • 71 Metascore
    • 50 Critic Score
    Cry, the Beloved Country
    Alan Paton's seminal novel of apartheid in 1940s South Africa receives a sanitized and overly sentimental treatment, trivializing the book's relentless power.
    • 56 Metascore
    • 67 Critic Score
    Sabrina
    The new Sabrina is both pokier and gauzier than the original.
    • 84 Metascore
    • 83 Reviewed by
      Ty Burr
    Sense and Sensibility
    Ang Lee's film of the Jane Austen novel slavishly follows the gospel according to Merchant Ivory, swooning over characters declaiming modestly while surrounded by topiary.
  22. Father of the Bride Part II
    Sure, Martin and Keaton squander their talents on this sentimental piffle, but it's hard to begrudge these two stars a couple of commercial hits. And oh, those adorable babies at the conclusion! The audience I saw Father of the Bride Part II with loved this big, corny, old-fashioned movie; as crowd-pleasers go, it's a shrewd one.
  23. Things to Do in Denver When You're Dead
    Its greatest achievement is that there isn't a single convincing scene in it.
    • 51 Metascore
    • 67 Critic Score
    Wild Bill
    While Hill’s hallucinatory script — adapted from a novel and a play — is about the dangers of fostering your own myth, the movie fawns over its character’s legend rather than aiming for his murky reality.
  25. Toy Story
    The first animated feature produced entirely on computer is a magically witty and humane entertainment, a hellzapoppin fairy tale about a roomful of suburban toys who come to life when humans aren't around.
  26. The American President
    In the end, the movie says that the President's private life matters, all right -- that Shepherd should get the girl and reestablish his leadership by giving in to the noble liberal he always was inside. Even for a modern Capra fable, that's a bit much to swallow.
  27. GoldenEye
    Still, just about everything in Goldeneye, from its rote nuclear-weapon-in-space plot to the recitation of lines that sound like they're being read off stone tablets (''Shaken, not stirred!''), has been served up with a thirdhand generic competence that's more wearying than it is exhilarating.
  28. It Takes Two
    It seems only fitting that the flavorless Guttenberg would land in this smooth tapioca concoction, but Alley deserves better.
  29. The Crossing Guard
    The Crossing Guard is a work of talent and, on occasion, raw passion, but it's also a willed exercise in purgative alienation (imagine "Death Wish" remade by Michelangelo Antonioni).
  30. Ace Ventura: When Nature Calls
    As always, the verbal comedy is nonsensical and vulgar, and the physical humor is rigorously thought out and really vulgar.
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