Entertainment Weekly's Scores

Select another publication »
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
view
per page
  1. The Paper
    Keaton is at his most urgent and winning here. His fast-break, neurotic style — owlish stare, motor mouth — is perfect for the role of a compulsive news junkie who lives for the rush of his job.
  2. Bitter Moon
    Sadly, the movie indicates that Polanski’s erotic narcissism may have consumed not just his life but, by all appearances, his art as well.
  3. Guarding Tess
    There are no big thrills, only gentle laughs in this light story by Hugh Wilson and Peter Torokvei (Wilson also directed).
  4. The Hudsucker Proxy
    For all its technical bravado, The Hudsucker Proxy is an unsettling contradiction, a ''whimsical'' fable made by acerbic control freaks. It's a balloon that won't fly.
  5. Sirens
    It’s a measure of the film’s middlebrow kitschiness that its centerpiece sequence turns out to be a tasteful soft-core version of the lesbian ravishment of Marilyn Chambers in "Behind the Green Door."
    • 59 Metascore
    • 91 Critic Score
    The Ref
    The performances are uniformly excellent — even Leary knows when to shut up and just listen — and this nasty romp delivers so many honest laughs, you may end up watching it twice in the same night to make sure you weren’t hallucinating.
  7. Four Weddings and a Funeral
    Grant is the rare actor who can mix the characteristics of sex appeal and ambivalence in believable, rather than irritating, proportions.
  8. What's Eating Gilbert Grape
    This is one nowhere boy who commands your attention.
  9. Sugar Hill
    Sugar Hill wants to tear up our insides, but I’m afraid the movie leaves us hooting with disbelief instead.
  10. Blue Chips
    The folly of Blue Chips is that the film makes this greased-palm corruption seem an even bigger sin than it is. (It's like a political drama made by someone who is shocked, shocked at the sleaze of campaign financing.)
  11. Reality Bites
    Ryder, good as she was in The Age of Innocence, gives her first true star performance here. Beneath her crisp, postfeminist manner, Lelaina is bristling with confusion, and Ryder lets you read every crosscurrent of temptation and anxiety, the way her tentative search for love slowly grows into a restless hunger. Yearning, hilarious, lost within their precocious self-awareness, these slackers have soul.
  12. On Deadly Ground
    What is there to do but laugh in self-defense at such pompous self-regard when blood gushes, fuses pop, and Seagal scowls in a series of snappy, embroidered buckskin jackets?
  13. The Getaway
    The movie is a true throwaway: By the end, it seems to have disposed of itself.
  14. Blank Check
    Because I’m not a 9-year-old boy, however, this story of a kid who acquires a blank check, cashes it for a million bucks, spends it all, and learns that having stuff isn’t nearly as satisfying as having a father’s love comes across as a calculated, mechanical production owing much too much to Home Alone.
  15. Ace Ventura: Pet Detective
    Carrey suggests an escaped mental patient impersonating a game-show host-and, what's worse, his hyperbolically obnoxious shtick is the whole damned show.
  16. My Father the Hero
    A hateful ”family” comedy based on jokey insinuations of incest.
  17. Romeo Is Bleeding
    Romeo Is Bleeding just ends up flaunting its Grand Guignol outrageousness, rubbing our noses in its desire to be a gaudy hipster freak show. By the end, the film has become so mired in pointless sensation that it ceases to be any fun at all.
    • 10 Metascore
    • 42 Critic Score
    Car 54, Where Are You?
    Not even the presence of the irrepressible David Johansen (here playing the Gunther Toody role originated by the ineffable Joe E. Ross on the ’60s television show) and a paddy wagon full of engaging Noo Yawk types can pull Car 54, Where Are You?‘s woebegone comedy out of the vulgar ditch that its screenwriters drove it into.
    • 25 Metascore
    • 25 Critic Score
    Death Wish V: The Face of Death
    An appropriately absurd finale for a series that long ago went over the top.
  20. Body Snatchers
    Body Snatchers is inky and somber, with some of the creeping bad-dream naturalism of George Romero’s Living Dead films.
  21. Cabin Boy
    Few comedies have worked this hard to make everyone on screen look this dumb.
  22. The War Room
    By the end of the movie, you realize that these two have devised nothing less than a media-age alternative to the Nixon era’s dirty tricks. The War Room is a giddy celebration of clean tricks.
  23. In the Name of the Father
    Sheridan, however, works with such piercing fervor and intelligence that In the Name of the Father just about transcends its tidy moral design.
    • 53 Metascore
    • 67 Reviewed by
      Ty Burr
    Grumpy Old Men
    Relaxed, valedictory, exquisitely titled, Grumpy Old Men feels like an odd couple's last hurrah.
  25. Tombstone
    If only director George P. Cosmatos (Rambo) knew how to do something with cliches other than throw them into the pot and stir. A preposterously inflated 135 minutes long, Tombstone plays like a three-hour rough cut that’s been trimmed down to a slightly shorter rough cut.
    • 65 Metascore
    • 91 Critic Score
    Batman: Mask of the Phantasm
    Batman: Mask of the Phantasm is simply the closest any TV or movie incarnation has ever come to the spirit of the original Batman comic books.
  27. Philadelphia
    But Philadelphia turns out to be a scattershot liberal message movie, one that ties itself in knots trying to render its subject matter acceptable to a mass audience.
    • 51 Metascore
    • 42 Reviewed by
      Ty Burr
    The Pelican Brief
    Pakula insists that The Pelican Brief is haute cuisine, and the seriousness nearly wrecks it.
  29. Schindler's List
    Spielberg restages the Holocaust with an existential vividness unprecedented in any nondocumentary film: He makes us feel as if we're living right inside the 20th century's darkest-and most defining-episode.
    • 60 Metascore
    • 75 Reviewed by
      Ty Burr
    Wayne's World 2
    It also made me laugh harder than anything I’ve seen at the movies this year.
Page:

Top Trailers

See all »
See all trailers »