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. The Handmaid's Tale
    The Handmaid’s Tale is watchable, but it’s also paranoid poppycock — just like the book.
  2. The Hunt for Red October
    Colorful and exciting, yet unless you're a young moviegoer, nothing in it takes you by complete surprise. (It's less a nail-biter than a chin-stroker.)
  3. Nightbreed
    Barker spins grisly fantasy out of sexual obsession, yet his style here couldn’t be less obsessive. It’s cluttered and rather incoherent, as though the trailers to four different horror movies had been spliced together.
  4. Revenge
    The trouble with Scott’s movies is that they’re not just star vehicles. They’re about the aesthetics of celebrity, about the narcissism that’s going on offscreen. If Revenge ends up knocking Costner down a peg, it’ll be just what he needs — and deserves.
    • 30 Metascore
    • 50 Reviewed by
      Ty Burr
    Madhouse
    The tacky New Jersey cousin with the nauseous cat, the gold-digging sister, the drug-running nephew — these are cruel cartoons, as grating to the viewer as they are to their hosts. Tucked between the pratfalls, though, is some surprisingly deft comedy.
  6. Hard to Kill
    At this point, revenge thrillers have become so standardized that these films are really all the same film — a Mixmaster blend of Death Wish, Dirty Harry, Enter the Dragon, and Rambo. A star with a personality would only gum up the works.
  7. Stella
    Stella is never dull, but by the time it replays the famous Barbara Stanwyck-in-the-rain scene, it’s jerking camp laughter instead of tears.
  8. Henry: Portrait of a Serial Killer
    Henry: Portrait of a Serial Killer is undeniably disturbing, especially that video scene and when it shows us (however discreetly) a body being hacked up in a bathtub. Yet the critics who’ve hailed it as a landmark are going overboard. Henry is just a superior B-movie with an artsy-clinical title.
    • 81 Metascore
    • 100 Critic Score
    Driving Miss Daisy
    Director Bruce Beresford's tightly focused adaptation retains all the impact of its Pulitzer Prize-winning stage original. Jessica Tandy and Morgan Freeman give exceptional performances as the aging widow and the sage black chauffeur who enlightens her in the segregated South.
    • 48 Metascore
    • 25 Critic Score
    We're No Angels
    What are two of America’s top dramatic actors, a serious playwright, and a hard-boiled British director doing in We’re No Angels, a meaningless stab at film comedy? Failing badly, that’s what.
    • 54 Metascore
    • 75 Critic Score
    Family Business
    Family Business is one of Lumet’s very worst movies, but the actors are stellar.
    • 80 Metascore
    • 83 Critic Score
    The War of the Roses
    DeVito doesn't hesitate to send the camera anywhere to goose the humor.
    • Entertainment Weekly
    • 57 Metascore
    • 83 Critic Score
    Back to the Future Part II
    All in all, Future II is another fantastic voyage in a thoroughly entertaining contraption.
    • 50 Metascore
    • 58 Critic Score
    Fat Man and Little Boy
    There is scarcely a performance in Fat Man and Little Boy that is less than commendable. Almost every scene is thoughtfully and tastefully (though not imaginatively) devised. But the characters and shots do not work together to tell a story. Instead, we get a bunch of inconclusive vignettes.
  15. The Fabulous Baker Boys
    Nearly every scene is a jazz-tinged, virtuoso actors’ duet.
  16. Shirley Valentine
    Talented actors stumbling through clichéd plot twists (Shirley’s nemeses actually envy her), flat one-liners (”Marriage is like the Middle East — there’s no solution”), and pithy self-affirmations (”I’ve fallen in love with the idea of living”) that undermine any genuine feminist sentiments.
    • 26 Metascore
    • 25 Critic Score
    Millennium
    It offers neither the tension of a good plane-disaster movie nor the ingenuity of a smart time-travel tale.
    • 72 Metascore
    • 42 Reviewed by
      Ty Burr
    The Adventures of Milo and Otis
    Milo and Otis is an okay babysitter for the very, very young, but for anyone who truly loves animals it seems pretty fishy.
  19. Casualties of War
    As drama, the movie is sustained yet hopeless — it coasts along on the kind of schoolbook-simple, this-is-good-and-this-is-bad pieties Vietnam made obsolete.
    • 62 Metascore
    • 75 Critic Score
    The Abyss
    The Abyss ends with a whimper. But it starts out with a bang that lasts for an exciting hour and a half. And that's enough to make it worth taking the plunge.
    • 86 Metascore
    • 75 Critic Score
    sex, lies, and videotape
    Compulsively watchable.
    • 94 Metascore
    • 100 Critic Score
    Grave of the Fireflies (1988)
    The film is so deeply sorrowful that it’s sometimes hard to watch, yet so filled with painterly beauty that you cannot look away.
    • 49 Metascore
    • 67 Critic Score
    Great Balls of Fire!
    Winona Ryder is wonderful as the naive child bride. Dennis Quaid, as Lewis, mugs and struts in a colorfully unreal caricature, miming to new Jerry Lee renditions of classic tunes.
    • 30 Metascore
    • 50 Critic Score
    Vampire's Kiss
    Playing a sleazeball who has stumbled upon an excellent excuse for his bent, Cage holds the movie together as best he can. More important, he nails down his unique approach to acting, managing to be simultaneously stylized and naturalistic. [7 June 1996, p.66]
    • Entertainment Weekly
  25. For All Mankind
    For All Mankind certainly succeeds at evoking the ironically serene aesthetics of space travel. What it never quite captures is the accompanying human drama. In all likelihood, the film will be shown in classrooms for years to come, but it’s just possible kids will watch it and wonder what all the fuss was about.
    • tbd Metascore
    • 25 Critic Score
    Going Overboard
    At least the movie has archival value: an early appearance by Chicago Hope‘s Peter Berg, along with Billy Zane embarrassing himself as a favor to his wife, Liza Collins Zane, who costars in the film.
    • 63 Metascore
    • 83 Critic Score
    How to Get Ahead in Advertising
    Robinson takes on a few too many satirical targets, but star Richard E. Grant gives a great over-the-top performance. It’s hard to dislike a film where a giant zit gets all the best lines.
  28. Let's Get Lost
    Just about the only documentary that works like a novel, inviting you to read between the lines of Baker's personality until you touch the secret sadness at the heart of his beauty.
    • 86 Metascore
    • 100 Critic Score
    Say Anything...
    It all comes down to one scene: John Cusack, standing at dusk, boom box aloft, blaring Peter Gabriel's ''In Your Eyes'' outside Ione Skye's window. This, friends, is what rapturous, heartrending, soul-spinning love is all about.
    • 50 Metascore
    • 100 Critic Score
    Bill & Ted's Excellent Adventure
    Delightfull time-travel comedy.
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