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. Defending Your Life
    A lackluster affair — smooth and mildly pleasant, with some honest chuckles but without Brooks’ special, prosaic madness.
  2. The Comfort of Strangers
    The Comfort of Strangers is luridly silly, yet it isn’t quite dull. Walken takes his usual glassy-eyed menace to new levels of high-camp refinement — he manages to be over the top and minimal at the same time — and the film has an extravagantly lush atmosphere, due in large part to the music of Twin Peaks‘ Angelo Badalamenti.
  3. Career Opportunities
    In a sense, John Hughes doesn’t produce movies anymore. He produces entertainment machines, and Career Opportunities has been shamelessly patched together — like Frankenstein’s monster — from bits and pieces of Home Alone and The Breakfast Club.
    • 45 Metascore
    • 58 Critic Score
    Teenage Mutant Ninja Turtles II: The Secret of the Ooze
    Neither as fun nor as faithful to the spirit of the original comics. It’s a bigger, slicker movie, but not a better one.
  5. Guilty by Suspicion
    The scandal of McCarthyism is too daunting to shake off. But Guilty By Suspicion leaves you wishing that someone would finally make a decent movie about it.
  6. The Perfect Weapon
    During the fight scenes, it sounds as if a hundred watermelons were being clobbered at once. Other than that, it’s business as usual, with the all-American Speakman proving the most generic vigilante this genre has spawned yet.
  7. True Colors
    The film, which has an overly complicated script (by Kevin Wade), is like Wall Street minus Gordon Gekko. It takes the fun out of back-room political sleaziness — and out of political integrity, too.
    • 48 Metascore
    • 58 Critic Score
    The Dark Backward
    Somewhere here, an ironic show-biz parable is trying to take shape. But director Adam Rifkin generally ignores it, preferring to flaunt the chops he has borrowed from David Lynch and John Waters.
    • 65 Metascore
    • 75 Critic Score
    La Femme Nikita
    It's like "The Terminator" as reimagined by the editors of French Vogue.
  10. New Jack City
    It’s got some talented actors and a certain jagged inner-city atmosphere, yet this first feature directed by Mario Van Peebles (son of the veteran black director Melvin Van Peebles) is little more than a sketchy exploitation melodrama.
    • 54 Metascore
    • 58 Reviewed by
      Ty Burr
    Bride of Re-Animator
    The original Re-Animator was made by an artist working on a wicked, energetic high. Bride of Re-Animator is a smart piece of hack work. In the end, it’s best left standing at the altar.
  12. Nothing But Trouble
    Most of the jokes are so lame that Chevy Chase can’t even be bothered to look nonchalant. A sadder excuse for a movie would be hard to imagine.
  13. L.A. Story
    The trouble is, nothing about this couple is particularly rooted in Los Angeles. The love affair has a bland, generic feel. What's more, the picture lacks verve.
  14. Sleeping with the Enemy
    As an actress, Roberts has more than a great smile. She’s alive on screen — you can practically feel her pulse. But someone should have realized that audiences would be on her side even if every single moment of a movie weren’t calculated to put them there.
  15. Popcorn
    Though it isn’t even trying to scare you, this is a very nifty black-comic horror movie, one of the rare entries in the genre with some genuine wit and affection.
  16. White Fang
    Despite some splendid snowcapped vistas and one rather frightening grizzly-bear attack, White Fang, a loose adaptation of Jack London’s classic novel is dramatically inert. Nothing in the picture really takes hold — certainly not the relationship between young Jack (Ethan Hawke) and White Fang, who seem like near-strangers even at the final clinch.
    • 41 Metascore
    • 58 Reviewed by
      Ty Burr
    Lionheart
    By never fessing up to its own bloodlust, Lionheart is, at bottom, chickenhearted.
  18. Not Without My Daughter
    It would all be worth getting mad over were the film not so plodding or so obvious in its tactics.
  19. Warlock
    Warlock is an occult schlock-o-rama, with special effects so low-budget they might have come out of a joke shop.
  20. The Godfather: Part III
    In this brilliantly sustained climax, Coppola unveils a vision of corruption that embraces the entire world, but he's also reveling in sheer theatrical magic in a way that only a master can.
  21. Alice
    Watchable and sometimes funny, but ever so thin.
  22. Kindergarten Cop
    The strange thing about Kindergarten Cop is how quickly it abandons its own concept. No sooner has Arnold gotten into class than he's yanked back into the mechanics of the movie's generic thriller plot. Perhaps this wouldn't be as noticeable if there were a few more sparks between Schwarzenegger and the kids.
  23. The Long Walk Home
    Both actresses are quite fine. The role of Odessa is somewhat underwritten, but Goldberg, playing her as a modest, God-fearing woman, acts with a deep-buried determination. If she’d been allowed to show some of her humor, the character might have soared. Spacek gives a beautifully modulated performance. 
  24. The Bonfire of the Vanities
    One of the most indecently bad movies of the year.
  25. The Russia House
    It’s the lead actors who give the movie its surprisingly emotional texture. Connery is masterly as the boozing, disheveled, sentimental Barley — a hipster gone to seed — and he and Pfeiffer have a touching chemistry.
  26. Awakenings
    And so even if you're held (as I was) by the acting, you may find yourself fighting the film's design. It reflects a certain lack of faith in your audience to take a performance as authentic as De Niro's and reduce it to the level of a glorified reach-out-and-touch-someone commercial.
  27. Mermaids
    In the end, there’s something a little insulting about a contemporary movie that reduces women to either trashy bimbos or repressed virgins.
    • 74 Metascore
    • 100 Critic Score
    Edward Scissorhands
    Simple, funny, gorgeous, sad, and sweet, perfect for playing over and over.
  29. The Rookie
    The plot makes almost no sense, and Eastwood directs in his usual toneless fashion. But in this case, the fact that you can’t always tell the intentional comedy from the unintentional isn’t necessarily a drawback.
  30. The Grifters
    The movie is pulp, yet it attains a surprising emotional power-especially when Anjelica Huston's Lilly, a survivor who'll do whatever it takes to master her surroundings, is on-screen.
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