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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    • 63 Metascore
    • 83 Critic Score
    Until the End of the World
    Wenders’ weird and wired view of the near future tempts replay as often as the sensational soundtrack (U2, Talking Heads, Patti Smith).
  2. JFK
    [Stone's] filmmaking is so supple and alive, his obsession with the visual aspect of history so electrifying, that JFK practically roots itself in your imagination.
  3. Bugsy
    What’s finally missing from Bugsy is the dirty, low-down kick of the crime genre — the quality that marked last year’s The Grifters, and that was there in The Godfather, too. Levinson would like to be bad, but his approach is reverent, ironic, tasteful. He’s made a gangster movie that, for all its lithe pleasures, enunciates too well.
  4. The Last Boy Scout
    The Last Boy Scout is a guilty pleasure by any standard, but I’ve seen plenty of guilt-free movies lately that aren’t this much fun.
  5. Night on Earth
    Jim Jarmusch’s Night on Earth is an agreeably flaky comedy built around a surefire hook. Each of the film’s five segments consists of a single extended taxicab ride through a different city; the idea is that each excursion is taking place at exactly the same time. The movie is like a hipster’s ramshackle version of traveling around the world and never leaving the Hilton.
  6. Hook
    Hook is jam-packed with ''entertainment value,'' enough to give you your money's worth, and to guarantee (in all probability) that Spielberg earns his. Yet something has clouded this director's vision... The problem isn't that Spielberg has lost his gift for fantasy. It's that he no longer seems to know (or care) about anything else.
  7. Star Trek VI: The Undiscovered Country
    Star Trek VI is just pleasantly diverting, business-as-usual hokum.
  8. My Girl
    My Girl has some sweet, funny moments (the cast is uniformly appealing), yet it unfolds in a landscape of paralyzing, pop-psych banality.
  9. Beauty and the Beast
    Splendidly crafted as it is, the new Disney is a luscious impasto of visual invention that never quite finds its heart.
  10. The Addams Family
    It might have helped had the film included a few more representatives of the straight world. As it is, there’s almost nothing for the family to play off. We’re shut up in that mansion right along with them, and the kookiness grows fatally quaint.
  11. Kafka
    The movie is MTV Kafka: Instead of dialogue, character, behavior, it has a look and a mood. And that's all it has.
    • 73 Metascore
    • 100 Critic Score
    Cape Fear
    A hypnotically engrossing thriller that spins along on the dreams and anxieties of its characters.
  13. Little Man Tate
    Little Man Tate keeps introducing characters and narrative lines that seem promising, but it doesn’t sustain them. The movie feels like three Afterschool Specials welded together.
  14. The People Under the Stairs
    If there were truth in advertising, The People Under the Stairs would be called The Not Very Scary Movie Set Inside a Grungy, Badly Lit House.
  15. Life Is Sweet
    Leigh gives you such a strong sense of his characters as fluky individuals that even his most lackadaisical scenes are alive with possibility. What holds Life Is Sweet together is his perception — at once funny and wise — that people, when they change at all, do so in small, nearly imperceptible ways, and that that may be enough.
    • 77 Metascore
    • 75 Critic Score
    My Own Private Idaho
    But Van Sant, whose vision is otherwise sharp, pushes the connection to Shakespeare's Henry IV too far, having Reeves at one point declaim in rhyming couplets, which severely tests even the most forgiving viewer.
    • Entertainment Weekly
  17. Frankie and Johnny
    Frankie & Johnny does what any true romantic movie should: It makes the mysterious, push-and-pull alchemy of love seem, once again, worth the effort.
  18. Homicide
    Homicide is engrossing, at least for a while, but the truly personal movie it wants to be remains locked up in Mamet’s head.
  19. Dogfight
    For all the pitfalls it scrupulously avoids, Dogfight isn’t finally very interesting. It’s not just the movie’s plot that’s diminutive. The emotions seem small too.
    • 78 Metascore
    • 91 Critic Score
    A Better Tomorrow
    Chow-Yun Fat’s sleek underworld charisma and intense emotion still come through. As for the action scenes, the dubbing affects them not a whit: They’re as dizzying as any Woo has concocted, and the climactic gun battle has to be one of the most ridiculously exhilarating — or exhilaratingly ridiculous — sequences of its kind.
  21. The Indian Runner
    Though the movie is sometimes too mannered (during one unaccountable stretch, Penn suddenly turns into Diane Arbus and peppers the screen with small-town grotesques), it has an accomplished rhythmic flow, a sense of people’s destinies unfolding step by step.
  22. Freddy's Dead: The Final Nightmare
    It’s disappointingly ho-hum, without the spectacular — and often very funny — special effects that have become the hallmark of this series.
  23. The Commitments
    As The Commitments goes on, you begin to weary of the one-note characters, who don’t so much converse as exchange arch put-downs.
  24. Child's Play 3
    Chucky the plastic slasher proves that his novelty value has long worn off.
    • 66 Metascore
    • 91 Critic Score
    Dead Again
    With its stylized black-and-white sequences and fast-paced melodramatic plot, this homage to film noir is both intense and purposely self-conscious.
    • 36 Metascore
    • 25 Critic Score
    Harley Davidson and the Marlboro Man
    All the virile violence in this buddy picture is lackluster — we’ve seen these fights, chases, and shoot-outs before.
  27. Barton Fink
    Barton Fink has an atmosphere of languid comic anxiety (it's like a cross between "Eraserhead" and "Angel Heart"), and it's fun to watch, if only because you have no idea what's coming next.
  28. Pure Luck
    Just about unwatchable — a numbingly repetitive farce in which the cursed Short trips, walks into walls, trips, spills an entire saltshaker onto his breakfast, trips, sets people on fire, trips…
  29. Double Impact
    What makes Double Impact, for all its dull-witted theatrics, an energizing experience is the picture’s astonishing level of ballistic mayhem.
  30. Paris Is Burning
    Paris Is Burning is the most passionately empathetic piece of documentary filmmaking I’ve seen since Streetwise, the brilliant portrait of homeless teens in Seattle, and The Decline of Western Civilization Part II, Penelope Spheeris’ sly and galvanizing heavy-metal collage.
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