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. Sister Act
    The movie is a Disneyfied contradiction: a lapsed-Catholic comedy without a whiff of true blasphemy. Still, on its own fluffy terms, it’s pleasant nunsense.
  2. Far and Away
    Far and Away looks like an epic, but it lacks flavor and texture. It's so predigested there's nothing left to chew on.
  3. Alien 3
    Alien3 is a grimly seductive end-of-the-world thriller, with pop-tragic overtones that build in resonance as the movie goes on.
  4. Encino Man
    Pauly Shore, the reptilian imp from MTV. Reeling off Valley Dude slang in a slurry monotone, as if he could barely be bothered to make his lips form words, he’s a fey sleazebag in hippie duds — a cross between Jim Morrison and Richard Simmons. The most interesting thing about watching Pauly Shore is wondering how long it will be before he has to take a day job.
  5. Lethal Weapon 3
    The movie zips around without any true forward momentum. The stars carry you along, though.
  6. One False Move
    Part of what makes One False Move so engrossing is the way the characters keep revealing new, darker sides. The movie is about hidden American links — between city and country, cop and criminal, and the black and white subcultures of the rural South.
    • 51 Metascore
    • 50 Critic Score
    Poison Ivy
    Drew Barrymore is terrific as a jailbait fatale who manipulates the members of a dysfunctional well-to-do family in this gothic sexploitation item. But while Poison Ivy tries hard to work up a sweat, it ends up so over the top that it can’t help but go splat.
  8. White Sands
    White Sands, on the other hand, is a dud, the sort of movie that swathes its emptiness in layers of chic, swirling ”visuals.”
    • 38 Metascore
    • 25 Critic Score
    Boris and Natasha
    The slapstick might appeal to some kids, although it’s extremely dumb and, even worse, just not funny.
  10. Deep Cover
    Duke is out to blend the commercial, gut-wrenching pleasures of an inner- city shoot-’em-up with the complex moral rage that marked such black-cinema touchstones as Sweet Sweetback’s Badasssss Song (1971).
  11. Newsies
    It has been put together with just enough efficiency to qualify as an oddball labor of love.
  12. The Player
    The film is sublime entertainment, at once ticklish and suspenseful, cynical and sincere. By its very existence, Altman's comedy about the death of Hollywood lets you know that movies are still alive and kicking.
    • 58 Metascore
    • 50 Critic Score
    Thunderheart
    The movie boasts a number of shoot-outs and a car chase leading to the final showdown, but it’s more than just an updated cowboys-and-Indians picture, due in no small part to Apted’s grasp of the situation’s complexity.
  14. White Men Can't Jump
    Perhaps the first sports movie ever made in which the characters talked as good a game as they played.
  15. The Power of One
    The Power of One spends so much screen time reveling in the eloquence and bravery of its hero and depicting South Africa’s blacks as an anonymous horde of victims that the film, in effect, becomes their victimizer.
  16. Basic Instinct
    Beneath its heavy-breathing fripperies, though, Basic Instinct is mechanical and routine, a muddle of Hitchcockian red herrings and standard cop-thriller ballistics.
  17. My Cousin Vinny
    My Cousin Vinny is the definition of obvious, and it’s way too long (do films like this really need an hour’s worth of setup?). But Pesci and Tomei make a first-rate team — they’re Punch and Judy gone Brooklyn.
  18. Gladiator
    The fight scenes are vicious, demagogic, and thoroughly exciting.
  19. Memoirs of an Invisible Man
    There’s every indication that director John Carpenter (Halloween) was trying for more than another rinky-dink Chevy Chase comedy. Except for the effects, though, Memoirs of an Invisible Man comes disappointingly close to being just that.
  20. Wayne's World
    As a movie, Wayne's World isn't much more than an amiable goof, yet it's carried along by the flaked-out exuberance of its two stars.
  21. Medicine Man
    In the end, there’s something opportunistic and glib about the way that Medicine Man yokes together medical wish fulfillment and save-the-rain-forest agitprop into a neat, messagey package. Nothing takes the fun out of romance quite like liberal earnestness.
    • 40 Metascore
    • 0 Critic Score
    Final Analysis
    Insanely ridiculous.
  23. Mississippi Masala
    As long as Nair follows the two characters’ romantic moves or details the lives of their families (whose contrasting status on the ethnic-minority ladder marks them as both rivals and uneasy comrades), the movie is funny, observant, and deeply humane.
  24. Fried Green Tomatoes
    An extended framing device set in the present day, with Kathy Bates as a put-upon housewife who becomes the fierce, confident, new-and-improved ”Tawanda,” is the sort of ghastly idea that gives feminism a bad name. The movie left me wishing its sterling cast — including a radiant Jessica Tandy — had been better served.
  25. Juice
    The film is an inflammatory morality play shot through with rage and despair.
  26. Rush
    Directed by Lili Fini Zanuck, the Oscar-winning coproducer of Driving Miss Daisy (it’s her first time behind the camera), Rush has a raw surface authenticity. But that’s about all it has.
    • 34 Metascore
    • 33 Critic Score
    Freejack
    Directed by Geoff Murphy, Freejack is rife with run-of-the-mill action sequences and glaring inconsistencies.
  28. The Hand That Rocks the Cradle
    There’s no denying the movie gets a rise out of us, but it does so by mining the fears within our hokiest prejudices.
  29. Light Sleeper
    Schrader seems to have found his way. In Light Sleeper, he attains a new, fluid emotionalism. The movie is a small but absorbing mood piece, a canny insider’s view of the life of a Manhattan drug dealer.
  30. The Prince of Tides
    The difference between The Prince of Tides and a movie like Ordinary People is that Streisand isn’t content with exploring human pain. She had to make it glamorous, too.
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