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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    • 73 Metascore
    • 67 Reviewed by
      Ty Burr
    El mariachi
    Rodriguez makes the same mistake as other first-time auteurs: The world of this movie exists only in relation to other movies, particularly the Sergio Leone-Clint Eastwood spaghetti Westerns of the early '60s.
  2. Falling Down
    Demagogic shallowness has its appeal, and Falling Down could turn out to be the Network of the '90s. By the end, you may wish he'd just gone home and popped a couple of Excedrin instead.
  3. Army of Darkness
    By the time Army of Darkness turns into a retread of "Jason and the Argonauts," featuring an army of fighting skeletons, the film has fallen into a ditch between parody and spectacle.
  4. Groundhog Day
    The funniest moments in Groundhog Day come when Phil takes sneaky advantage of his predicament-by, say, pumping a sexy woman in the local coffee shop for facts about her past and then, ''the next day,'' using the information to lure her into bed. What the movie lacks is the ingenious, lapidary comic structure that could have made these moments fuse into something tricky and wild.
  5. Dead Alive
    A gonzo splatterfest from New Zealand that manages to stay breezy and good-natured even as you're watching heads get snapped off of spurting torsos.
  6. Strictly Ballroom
    The dance-film equivalent of a female impersonator: The movie is absurd and sincere at the same time-it offers an insolent facsimile of grand passion.
  7. Untamed Heart
    If Untamed Heart is often too precious for words, there’s one thing in it that feels miraculously fresh: the performance of Marisa Tomei, who follows up her rollicking caricature of a streetwise Italian dish in My Cousin Vinny by proving that she’s a major actress.
  8. The Vanishing
    [Sluizer's] original, pitch-black ending would have sent people out of the theater giddy with shock; it’s doubtful anyone will remember his new one long enough to tell their friends.
  9. Loaded Weapon 1
    But the Lethal Weapon films, with their hyperbolic explosiveness, lurid repartee, and quasi-loco Mel Gibson hero, are already winking at the audience. (Last year’s spoofy, ragtag Lethal Weapon 3 practically turned its own slovenliness into a running gag.) The only way to make light of them is to exaggerate the cartoon funkiness that’s already at the center of their appeal. It’s no wonder this Weapon ends up shooting blanks.
  10. Sommersby
    If Sommersby is finally more pleasant than exciting, that may be because its post-Civil War setting robs the story of much of its exoticism.
    • 32 Metascore
    • 75 Critic Score
    Aspen Extreme
    This overlong film, written and directed by Patrick Hasburgh, keeps changing tone unobtrusively. But the skiing footage — even when squeezed into the boot of a small screen — is extraordinary.
  12. Damage
    Whether you respond to this movie may come down to the question of how far you think people are willing to go to realize their desires. Damage says that they’ll go all the way — past honor, past rationality, past sin. The movie may not always convince, but when it does it’s a cataclysmic peek into the erotic abyss.
  13. Body of Evidence
    A preposterous erotic thriller from the Basic Instinct fingernails-ripped-my-flesh school, Body of Evidence is shamelessly — and, on occasion, amusingly — unadulterated trash.
  14. Alive
    Alive is an unsettling contradiction: a well-intentioned gross-out movie. It may be the first film in history to say that cannibalism is good for you.
  15. Nowhere to Run
    The producers of Nowhere to Run simply toss out the mousetrap. They make the dismal mistake of turning Van Damme into a softy, a sensitive lunk who puts up his dukes only because he wants to help his new family. The former kickboxer would do well to remember that the most heartfelt performance he was put on this earth to give revolves around the tender sound of snapping limbs.
  16. Lorenzo's Oil
    Lorenzo’s Oil is at once harrowing and riveting. In the age of AIDS, it has telling observations to make about how the institutionalized complacency of the medical establishment actually works. As remarkable a job as Miller and the actors have done, though, the film begins to wear you down. At 2 hours and 15 minutes, it’s far too long, and (more crucially) it has a flat, repetitive structure.
  17. Hoffa
    The most irritating thing about Hoffa is that even after you've sat through Danny DeVito's turgid, meaninglessly sprawling account of the Teamster boss' rise and fall, you still won't have any idea who Jimmy Hoffa was.
  18. Trespass
    Hill knows how to zing the audience, and his ”existential” approach to action remains edgy and enjoyable. But it also seems guided, more than ever, by a blockbuster imperative: Whatever happens, don’t let that roller coaster stop.
  19. Scent of a Woman
    In the end, Scent of a Woman offers little more than lumbering simulation of Rain Man's nimble magic. But Pacino's performance-scabrous, tender, ripely theatrical-is a master showman's trick.
  20. Toys
    The film is a jokey, nattering fiasco, as awful as Hudson Hawk. And yet, like that famous disaster, it never loses its aura of precocious self-satisfaction.
  21. A Few Good Men
    Like all courtroom dramas, A Few Good Men is gimmicky and synthetic. It's also an irresistible throwback to the sort of sharp-edged entertainment Hollywood once provided with regularity.
  22. The Distinguished Gentleman
    All The Distinguished Gentleman has is Eddie Murphy doing his best to be the life of the party. By the end of the movie you wish he would just go to another party.
  23. The Crying Game
    By the time The Crying Game is over, you'll never look at beauty in quite the same way.
  24. The Bodyguard
    The Bodyguard is an outrageous piece of saccharine kitsch — or, at least, it might have been had the movie seemed fully awake. Instead, it’s glossy yet slack; it’s like Flashdance without the hyperkinetic musical numbers and with the romance padded out to a disastrously languid 2 hours and 10 minutes.
    • 86 Metascore
    • 100 Reviewed by
      Ty Burr
    Aladdin
    Despite a similar setting-the never-never land of the Arabian Nights — the new movie is hipper, faster, more topical.
    • 70 Metascore
    • 91 Critic Score
    Bad Lieutenant
    For all its scenes of degradation (five minutes of which have been shorn for an R-rated cut; we recommend the original NC-17 version), Bad Lieutenant is a deeply moral movie. It's not pretty-it's not even very realistic-but it does matter.
    • 46 Metascore
    • 42 Critic Score
    Home Alone 2: Lost in New York
    Here, the signs of Culkin’s limitations begin to emerge.
  28. Malcolm X
    With Malcolm X, Lee has created a galvanizing political tragedy, the story of a leader who, through his very perception and daring, recognized that death — and only death — would be his final evolution.
  29. Bram Stoker's Dracula
    The director has dressed up a classic tale in mesmerizing visual overkill without coming close to its dark heart. [13 Nov 1992, p. 56]
    • Entertainment Weekly
    • 47 Metascore
    • 91 Critic Score
    Love Potion #9
    It’s the height of silliness: An elixir makes two wallflowers (Tate Donovan and Sandra Bullock) irresistible. But the blithe comedy Love Potion #9 is both playful and sweet — and its modest intentions fit the small screen snugly.
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