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. Boys on the Side
    Goldberg, for all her character's tough bluster, is sweet too: Her performance here is contained, modulated, dignified without cushioning the Whoopi edge that makes her work so interesting and uncategorizable.
  2. In the Mouth of Madness
    Look for bloody axes, grotesquely disfigured zombies, and creepy visions — much of it bloatedly self-indulgent and a small part wicked funny about the influence of guys like Stephen King/Sutter Cane who write words read by people who don’t read anything else, or maybe don’t read at all but only go to movies like this one.
  3. Before Sunrise
    If Linklater goes to a bit of an extreme here, it's in making both characters so intelligent and sincere, so ardent and giving, that they seem a little too good to believe.
  4. Legends of the Fall
    This puffed-up Western set in Big Sky country becomes a small-screen horse opera.
  5. Nobody's Fool
    Nobody’s Fool shines with intelligence and grace and the natural light of fine moviemaking. Like a shot of superior whiskey, it’s a sharp comfort in the grayness of winter
  6. Tales from the Crypt: Demon Knight
    To call Demon Knight a popcorn movie is to give it too much credit — I doubt it would raise the pulse of Orville Redenbacher.
    • 83 Metascore
    • 100 Critic Score
    Ladybird Ladybird
    Although based on a true story, Ladybird Ladybird is also a parable of how government’s giant cogs sometimes crush individuals and never miss a turn. Loach puts us where we can hear the people crying.
  8. Higher Learning
    Higher Learning starts out as a liberal message movie, but it turns into a demagogic rabble-rouser, a shrewdly incendiary exploitation of these wayward days of rage.
  9. The Madness of King George
    The humor built into this sharp-witted human comedy is enhanced in the translation. Meanwhile, the arrestingly stylized imagery of the original Madness has not been lost.
  10. Ready to Wear (Prêt-à-Porter)
    Ready to Wear is messy and vaguely nasty -- a blur with attitude.
  11. I.Q.
    I.Q. is easy enough to sit through, but it’s all surface come-on-the romantic-comedy equivalent of a shallow young Hollywood star who puts on fake glasses so that it will look like he, too, has brains.
  12. The Jungle Book
    The animals are dignified cuties and the humans are boisterous archetypes, and if you want the heart to have more darkness, you’re barking up the wrong vine.
  13. Death and the Maiden
    Death and the Maiden doesn't always escape its contraption origins, but it ends with one of the most honest-and poetic- reckonings of human evil in modern movies. It's Polanski braying at his own bitter moon.
  14. Nell
    By the end, the pieties of Nell fall into place all too neatly.
    • 34 Metascore
    • 83 Critic Score
    Street Fighter
    As the mercenary in charge of liberating hostages from the megalomaniacal General Bison (Julia), Jean-Claude Van Damme finds a showcase for his comic skills in Street Fighter.
  16. Mixed Nuts
    Confined to just a few sets, the movie is like the pilot for a sitcom you never want to see. Yet Ephron seems to think she's making a feel-good holiday classic: She floods the soundtrack with old pop versions of Christmas standards, trying to render stale comedy appetizing by drenching it in syrup. [23 Dec 1994, p.50]
    • Entertainment Weekly
  17. Little Women
    A graceful, unsentimental, well-made movie.
  18. Dumb and Dumber
    There are limits to how much comic irony can be wrung out of the sight of two grown men acting like complete cretins.
  19. Disclosure
    The movie, like the book, is a work of opportunistic gamesmanship, a luridly farfetched conspiracy thriller masquerading as an inquiry into the zeitgeist. You can't take Disclosure very seriously, yet the film has been made with cleverness and skill, and with a keen eye for the latest styles in corporate paranoia and ruthlessness.
  20. Cobb
    In Cobb, Jones seems trapped inside his own febrile personality. He’s so utterly, hyperbolically Tommy Lee Jones that his performance doesn’t begin to register as an imaginative look at who Ty Cobb was.
  21. Mrs. Parker and the Vicious Circle
    For a while, the atmosphere seems just right. As Mrs. Parker goes on, it becomes apparent that the one-liners, droll as some of them are, aren't really going to coalesce into characters, scenes, dramatic encounters.
  22. Junior
    Schwarzenegger’s willingness to flirt with femininity, to become truly radiant, is the most engaging aspect of Junior. Unfortunately, the script doesn’t portray his transformation to starry-eyed pregnant bliss with much comic ingenuity.
  23. The Professional
    Ah, monsieur, you can lead a Frenchman to the Big Apple, but you can't make him a New Yorker -- and that's exactly what makes The Professional so fascinating.
  24. Star Trek: Generations
    The pleasure of any Star Trek movie lies in experiencing the familiar mixed with the inventive.
    • 70 Metascore
    • 83 Critic Score
    The Swan Princess
    With its modern sensibility and a visual look beautifully steeped in tradition, The Swan Princess takes a well-deserved place in the circle of animation.
  26. Heavenly Creatures
    If the pleaures of Heavenly Creatures remain defiantly on the surface, on that level the movie is a dazzler.
  27. Interview with the Vampire: The Vampire Chronicles
    Dramatically, though, the film is torpid.
  28. The Santa Clause
    Watch for the ''Mrs. Doubtfire'' syndrome: In Santa drag and padded for laughs, Scott demonstrates how to be a more sensitive, more funsy parent than boring old Mom.
  29. Mary Shelley's Frankenstein
    Branagh, for all his craftsmanship, hasn’t succeeded in tapping the morbid core of the material, the feeling that Victor Frankenstein’s experiment in creating ”life” is really a mask for his obsession with death (indeed, he can no longer tell the difference).
    • 40 Metascore
    • 75 Critic Score
    Double Dragon
    This irrepressibly action-packed adventure may be based on a computer program, but it gets its real kick from martial- arts acrobatics, comic-book-vivid art direction, and a future-shock vision inspired by The Road Warrior, Robocop, and Escape From New York. What 12-year-old could resist?
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