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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    • 38 Metascore
    • 33 Critic Score
    Sister Act 2: Back in the Habit
    To say the script is lame is to be charitable, but Whoopi’s irrepressible charm makes the nunsense watchable. Once again Hollywood doesn’t know when to leave well enough alone: Renting this sequel is like advancing a grade and getting last year’s teacher.
  2. Six Degrees of Separation
    By the end, most moviegoers are liable to see it as much ado about nothing.
  3. Mrs. Doubtfire
    Williams gives an inspired comic performance. Unfortunately, he outclasses the movie, which is basically a patchwork rip-off of Tootsie.
  4. A Perfect World
    The trouble with Eastwood’s attempt to make a thriller with heart is that, in retreating from his darker impulses, he muffles his own voice as a moviemaker.
  5. Addams Family Values
    Wittier and more consistent than the first Addams Family movie. Paul Rudnick’s script offers sharp-edged variations on the topsy-turvy Addams worldview, and it’s much better at getting the Addamses out into the straight world, where they can really do some damage.
  6. Carlito's Way
    Carlito’s Way is perfectly okay entertainment, yet this 2-hour-and-21-minute movie never convinced me it wouldn’t have been every bit as good (if not better) as a lean and mean Miami Vice episode.
    • 43 Metascore
    • 50 Critic Score
    The Three Musketeers
    It’s packed with swordplay, fast getaways, and heaving bosoms.
    • 26 Metascore
    • 16 Critic Score
    Look Who's Talking Now
    Lie down with dogs like Look Who’s Talking Now! and you’ll end up with fleas.
    • 77 Metascore
    • 58 Critic Score
    Ruby in Paradise
    Ultimately, though, it’s the film that’s tentative-and more than a little plodding. Instead of following through on the relationships, Nunez allows Ruby in Paradise to get bogged down in his heroine’s economic woes. The film ends up being about whether she’ll land on her feet, when what we really want to see is whether she can stand tall.
  10. Flesh and Bone
    In Baker Boys, Kloves crafted a melancholy vision laced with ripe possibilities for pleasure and love. But the movie was (inexplicably, to me) a commercial disappointment, and Kloves, perhaps as a delayed response, has returned with a vision drained of joy, freedom, excitement.
  11. Kalifornia
    It's like a film-school thesis gone disastrously wrong.
  12. The Piano
    By the end, Campion views all her characters with a compassion bordering on grace, a humanity-like her heroine's-as dark, quiet, and enveloping as the ocean.
    • 33 Metascore
    • 42 Critic Score
    Fatal Instinct
    Too dopey to cut it as a theatrical release, but more knowingly and competently made than most of its straight-to-video analogues, this Carl Reiner-directed pastiche-parody of film noir occupies a lonely corner of video purgatory.
    • 64 Metascore
    • 83 Critic Score
    Trauma
    Never a terribly coherent storyteller, here the gorehound’s Godard dispenses almost entirely with the plot development. Instead, Argento concentrates on mood, and, making terrific use of various run-down Minneapolis locations, he succeeds in giving Trauma the feel of a waking nightmare
  15. The Nightmare Before Christmas
    Is it any wonder this Nightmare never coalesces? He couldn’t make up his mind about whether to be naughty or nice.
  16. The Beverly Hillbillies
    The plot, which features Lea Thompson as a gold digger scheming to marry Jed, is like something you’d catch on the USA Network at 4 a.m. But enough of beating a dead possum. After sitting through The Beverly Hillbillies, I now realize that the best tribute anyone can make to the pop detritus of our childhood is to let it rest in peace.
  17. Farewell My Concubine
    Dramatizing totalitarian oppression is hardly novel, but Farewell My Concubine may be the first film to capture the unique spiritual cruelty of a regime in which beauty itself had become a crime.
    • 47 Metascore
    • 50 Reviewed by
      Ty Burr
    Mr. Jones
    In short, a little too spongy for high- quality junk food.
    • 43 Metascore
    • 16 Critic Score
    Ticks
    Icky doesn’t begin to describe it.
  20. M. Butterfly
    Cronenberg directs this doomed romance in the same flat, claustrophobic, night-of-the-zombies style he employed in ''Naked Lunch''; as a dramatist, he's still stuck in Interzone.
  21. Malice
    The only thing that makes this ludicrous botch even borderline watchable is Alec Baldwin’s enjoyably supercilious performance as a leering stud surgeon who thinks nothing of belting back shots of bourbon before going in to perform an operation.
  22. For Love or Money
    By now, I’m not sure even Donald Trump could love a movie that asks us to get misty-eyed over real estate.
    • 58 Metascore
    • 75 Reviewed by
      Ty Burr
    Freaked
    That’s already more laughs than a month of Saturday Night Lives.
    • 82 Metascore
    • 91 Reviewed by
      Ty Burr
    Dazed and Confused
    From the opening shot of a burnt-orange GTO cruising a high school parking lot to the strains of Aerosmith's ''Sweet Emotion,'' Richard Linklater's film nails mid-'70s adolescence so precisely that you'll need Clearasil by the end credits.
    • 68 Metascore
    • 67 Reviewed by
      Ty Burr
    Bopha!
    There’s sorrow here to fill a thousand Hollywood movies—and in the end, it swamps the boundaries of movie convention.
    • 45 Metascore
    • 58 Critic Score
    The Good Son
    (Culkin's) attempt to broaden his range with the not-for-kids thriller The Good Son — in a part that calls for complex emotions rather than amusing reactions-comes up way short.
  27. The Program
    James Caan is underused as the crusty coach who needs a championship season, but he is supported by good turns from the highly angst-ridden quarterback (Craig Sheffer) and the straight-from-the-streets rookie running back (Omar Epps).
  28. A Bronx Tale
    Set in the 1960s, Robert De Niro's directorial debut is a work of vitality and flair. [22 Oct 1993, p.58]
    • Entertainment Weekly
  29. The Age of Innocence
    Up through its first half, The Age of Innocence is a masterfully orchestrated tale of romantic yearning.
  30. Striking Distance
    Bruce Willis is at his most morose in this flat, dankly lit, grindingly inept thriller about a serial killer whose victims all turn out to have been acquaintances of Willis’ rumpled, alcoholic cop hero. As his by-the-book partner, Sarah Jessica Parker is the only one in the movie who doesn’t look sleep-deprived.
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