Entertainment Weekly's Scores

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:
7797 movie reviews
  1. Foster, working from a patchy, meandering script by W.D. Richter, produces scene after scene of rudderless banter. The movie is all asides, all nattering; the actors seem lost in their busy, fractious shticks.
  2. A thriller primarily about the movement of Cindy Crawford's breasts beneath a succession of ever-smaller T-shirts.
  3. Total Eclipse is pretty unbearable: The movie is dour and patchy and stilted — it leaves you sitting glumly waiting for the next baroque bout of tormented misbehavior.
  4. Dark and giddy at the same time, Leaving Las Vegas takes us into dreamy, intoxicated places that no movie about an alcoholic has gone before.
  5. The movie is, in short, a trash conundrum. What nearly redeems the movie is its acting.
  6. Vampire in Brooklyn is a horror comedy that mixes lame blood-pellet effects with lame gags, and it clunks along on a series of interchangeably deserted streets that manage to look dank and overlit at the same time.
    • 48 Metascore
    • 25 Critic Score
    Good luck searching for meaning — you’ll find mostly blood and epithets.
    • 41 Metascore
    • 42 Critic Score
    A hopelessly stupid movie that should appeal to baked couch potatoes everywhere.
    • 56 Metascore
    • 83 Reviewed by
      Ty Burr
    The improvisations are a mixed bag -- Reed and Fox are surprisingly hilarious, while Roseanne is a shrieking horror show -- but the air of gentle play and a wistful sense that Brooklyn is some kind of lost Eden put this one up on the more structured "Smoke."
  7. If anything, Strange Days belongs to the rotters hovering around its edges: Michael Wincott, a vision of Drano-throated malevolence; Tom Sizemore, who, as Lenny’s bikerish pal, suggests Judd Nelson if he’d let the corruption ooze a little further out of his pores; and the wonderfully weaselly Richard Edson as an underground software techie.
  8. The final affirmation of this romance is really an affirmation of Baumbach's talent: that a young filmmaker fixated on the solipsistic rituals of guyhood understands the hearts of women, too.
  9. Everything is aces about this lineup's pedigree. But Devil never lets loose. It's a jazzy composition about sex, sleuthing, corruption, race, and cheap liquor that's a half step out of tune.
  10. The film's most memorable performance is also its most incongruous: As Jimmy, the teen sap who falls hard for Suzanne, Joaquin Phoenix is dead-eyed yet touchingly vulnerable -- a mush-mouthed angel.
  11. As Nomi, Elizabeth Berkley has exactly two emotions -- hot and bothered -- but her party-doll blowsiness works for the picture.
  12. This homicide thriller has a tantalizingly morbid atmosphere of unease.
    • 47 Metascore
    • 42 Reviewed by
      Ty Burr
    The movie is too blatant a throwback to crass '80s teen fodder to really work.
  13. It's a dismal mess...What's most grating about Hackers, however, is the guileless way the movie buys in to the computer-kid-as-elite-rebel mystique currently being peddled by magazines like Wired.
  14. Trying for a dark-toned comedy of familial mishap, Keaton dips into the sentimental fraudulence.
  15. A work of staggering intelligence and emotional force -- a mosaic of broken dreams.
    • tbd Metascore
    • 75 Critic Score
    This latest installment — the best of the Stephen King-derived series — offers some unexpected plot developments and surprisingly chilling gore. But fear not, it’s unlikely Urban Harvest will cause nightmares, due to its hilariously inept climax.
  16. If there’s any shock value left to seeing a couple of matinee idols dressed up in women’s clothing, the drag-queen comedy To Wong Foo, Thanks For Everything, Julie Newmar gets it out of the way fast.
  17. If Kids is simultaneously engrossing and detached, observant and just plain showy, that may be because the film is so caught up in trying to be a statement that it never develops its characters beyond their rowdy, bellicose facades.
  18. The Prophecy is an occult freakshow so inert it seems to have been pasted together out of stock footage.
  19. The camera loves Banderas -- a velvet stud -- as much as it did the young Clint Eastwood.
  20. The romantic troubles of three Irish-Catholic brothers on Long Island don't amount to a hill of beans in this crazy world.
  21. And although director Paul Anderson treats the story with appropriate deadpan respect, there are enough sparks of humor (particularly generated by Linden Ashby as a shallow martial-arts actor who worries that he's a fake, with good reason) to amuse the adults accompanying the 10-year-old boys in the audience.
  22. Dense with plot intricacies, thick with atmosphere, and packed with showy roles for a hip ensemble.
  23. Yet despite its promising pedigree, Dangerous Minds has a slick, syrupy fraudulence -- it's like an Afterschool Special made for MTV.
  24. With (Keanu's) stiff body language and wooden delivery, his every word falls like drops of flat Diet Coke rather than intoxicating wine.
    • 34 Metascore
    • 42 Critic Score
    Watered-down versions of once-winning formulas, with recycled charms best suited to snowbound preteens.

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