Entertainment Weekly's Scores

Select another publication »
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
view
per page
  1. Poor Things
    For all its hilarity, explicit sex — which, for the record, is a) extremely sexy, b) earned, and c) hysterically funny — and foul-mouthed dialogue, Poor Things is a romance about a woman learning to fall in love with herself, no matter what others think she should be.
  2. All of Us Strangers
    Grief is a funny animal; it tangles itself in our organs and sinews, permanently altering how we love, how we see ourselves, and how we make sense of our identity. That's what Haigh is unraveling here, with a bittersweet emphasis on the power of love and its ability to transcend even death itself.
  3. The Holdovers
    Life is messy, and The Holdovers never loses sight of that truth. But the film never becomes self-indulgent either.
  4. Saltburn
    The film is not for the faint of heart, but it is viscerally compelling and unafraid to luxuriate in its own elegant weirdness. Its endless visual and literary layers will bring its ardent admirers back to it again and again, because it is a triumph of the cinema of excess, in all its orgiastic, unapologetic glory.
    • 61 Metascore
    • 83 Critic Score
    Blue Beetle
    Blue Beetle never loses sight of the community it seeks to honor, not once pandering nor offering surface-level representation of what it means to be Latino. Latinidad is complex — it's more than where you were born, what language you speak, or what food you eat. But one thing it's full of is heart, and Blue Beetle has plenty of that to go around. Animo!
  6. Haunted Mansion
    Much like its namesake, Haunted Mansion is an enjoyable, if somewhat sedate experience that is more spooky diversion than thrill ride.
  7. Oppenheimer
    Though they may seem disparate, the many elements of Oppenheimer refract and reflect each other, like a bunch of atoms creating a chain reaction or a group of scientists building off each other's ideas to forge something new.
  8. Barbie
    It's Gerwig's care and attention to detail that gives Barbie an actual point of view, elevating it beyond every other cynical, IP-driven cash grab.
  9. Joy Ride
    Even among all the sex jokes and vulgar one-liners, Joy Ride boasts a real beating heart. It's a raunchy (and occasionally familiar) ride, but it's well worth the trip.
    • 81 Metascore
    • 91 Critic Score
    Mission: Impossible – Dead Reckoning
    The fact that McQuarrie and Cruise routinely set and then raise the bar for the gold standard of action movies is the lure of the franchise — but it's the characters, their foibles, their wit, and their deep humanity that are Mission: Impossible's secret weapon.
  11. Nimona
    Nimona is an incredibly fun character who is animated very expressively even in her regular human-ish form, and energetically voiced by Moretz, but by the tropes of Arthurian-style romances, she could only be classified as a "monster." The story admiringly delves into how such monsters are in fact created by a society that refuses to accept their differences.
  12. No Hard Feelings
    No Hard Feelings is a welcome addition to a dwindling genre — and a reminder that Lawrence is one Hollywood's best (and funniest) leads.
  13. Indiana Jones and the Dial of Destiny
    Much like the entries of the original trilogy, at its heart, Dial is a rip-roaring adventure that borrows more from the cinematic language of golden age swashbucklers than modern blockbusters.
  14. Asteroid City
    Johansson and Schwartzman give two stellar performances within a galaxy of gripping ensemble work that treads the line between pastiche and pathos with ease.
  15. The Flash
    Rather than the beginning of a cool, new idea, The Flash now feels like it should be the last word on movie multiverses.
  16. Spider-Man: Across the Spider-Verse
    It's a little sad to say that aside from certain surprises, much of Across the Spider-Verse's contents were in the trailers. The job of a trailer is to show viewers the premise of a movie without spoiling the conclusion — but there's no conclusion here!
  17. The Little Mermaid
    The human world, it's a mess, but with Halle Bailey, life under the sea is better than anything Disney live-action has done in nearly a decade.
  18. Fast X
    Fast X wants all the grandiosity of finality while not actually ending anything.
  19. Guardians of the Galaxy Vol. 3
    The MCU has been stumbling a bit since it bid goodbye to Captain America and Iron Man, and by reuniting us with characters we've known and loved for years, GotG 3 marks a welcome pivot from a recent run of unimpressive experiments and disappointing debuts. It'll be a long time, if ever, before we feel this kind of emotional payoff from this franchise again.
  20. Somewhere in Queens
    It's quiet and charming and has some beautiful, if also familiar things to say about fathers and sons, and the question of legacy. But it's not breaking any new or revelatory ground.
  21. Are You There God? It's Me, Margaret
    The film version is an utter delight, a loving adaptation that's both true to the book and endearingly fresh.
  22. The Super Mario Bros. Movie
    It's all quite fun, with a good sense of humor and a consistent computer-animated aesthetic — plus, at 90 minutes including credits, it's short, sweet, and over before anything can get annoying.
  23. Dungeons & Dragons: Honor Among Thieves
    What's especially welcome about the humor in Honor Among Thieves is that it doesn't wink or mock its material; the characters just say funny things and bounce off each other as organically as a real-life friend group. The fantasy elements are played straight, and the central story is a relatable romp about how people who fail as individuals can still succeed together.
  24. John Wick: Chapter 4
    As Wick carves a path of stoic destruction across several continents, the series' longtime director Chad Stahelski, once Reeves' Matrix stand-in and longtime stunt coordinator, gets down to the business of what he loves best: creative kills, far-flung zip codes, and incalculable body counts.
  25. Scream VI
    Splattery, puncture-heavy violence — the hard-R rating is earned — alternates with deadening rafts of therapy-speak, including an actual therapy session. But there's no deeper meaning to any of it; the Scream idea, meta to its core, was always a preening celebration of its own cleverness, never mind the occasional half-explored nods to toxic fandom or cancel culture.
  26. Operation Fortune: Ruse de Guerre
    Globe-trotting tomfoolery ensues, in ways never quite as witty or engaging as you want them to be, though Hugh Grant and Josh Hartnett bring a certain insouciant zing.
  27. The Quiet Girl
    With its English subtitles and small-scale epiphanies, Girl is the kind of quiet film that could easily get lost in a noisy season; lean in anyway, and listen.
  28. Cocaine Bear
    It's all patently ridiculous, and even at 95 minutes, a stretch to call this loose cannonball of high camp and sticky-bright gore a movie.
  29. Creed III
    Majors, already seemingly inescapable this year, brings a wounded menace that suggests the many sedimentary layers of fury and grief underneath; he's less some sneering Iron Curtain meathead á la Rocky villains of yore than a lost soul.
  30. Emily
    There's something gently intoxicating about O'Connor's dreamlike pastoral settings — oh, those wily, windy moors! — and her determination not just to rewrite Emily, but set her free.
  31. Return to Seoul
    In its colorful, Godardian way, Return to Seoul becomes a quest movie, but not the one you're expecting — it's the opposite of sentimental or overly therapized.
  32. Ant-Man and the Wasp: Quantumania
    At just over 120 minutes, though — a blink in Marvel time — this Ant-Man is clever enough to be fun, and wise enough not overstay its welcome. Who better understands the benefits, after all, of keeping it small?
  33. Somebody I Used to Know
    There's a low-key charm to the movie's knowing spin on familiar beats, and far more chaotic non-sexual nudity than Julia Roberts would ever allow in her contract.
  34. Sharper
    It's easy to lose count of the double and triple crosses in Sharper, a silly and unabashedly camp thriller that is, frankly, exactly the kind of sleek, shenanigan-y frolic that bleak midwinter calls for.
  35. Your Place or Mine
    What should be breezy, featherweight fun — Reese! Ashton! A screenplay by the lady who wrote The Devil Wears Prada and 27 Dresses! — instead turns out to be oddly hollow, a meandering and synthetic approximation of classic rom-com canon with too little romance or comedy in its strained, familiar formula.
  36. Magic Mike's Last Dance
    Last Dance is missing a lot, but it has the moves you mostly came for — and in its final strobe-lit moments, the full release of a Hollywood ending.
  37. Knock at the Cabin
    Shyamalan may be saying something meaningful about faith or environmental destruction or the corrosive fraying of the social contract (could this vigilante crew really be motivated by pure homophobia, as Andrew believes?). But the message is mostly lost in sentiment, and a lingering sense of the better, messier movie that might have been.
  38. The Pod Generation
    Ejiofor is eminently relatable as an analog man who can't seem to understand where it all went wrong, and Clarke's eyebrows knit with such pained expressiveness, it's as if they're having their own wriggling monologue throughout the movie.
  39. Close
    Shot in alternating French and Flemish, it's also quintessentially European, but the language of his storytelling is the most universal kind: a moving and often sublime piece of small-scale filmmaking, told with uncommon empathy.
  40. You People
    The movie is much better when it relaxes its death grip on screenwriter-y punchlines and slapstick cringe and just allows its cavalcade of stars to act like actual, you know, people.
  41. Infinity Pool
    At least Mia Goth, herself recently reborn as indie horror's new scream queen with Pearl, understands the assignment, getting more unhinged with every scene (her character starts off with vigorous flirting and a brusque handjob, and goes from there).
  42. Shotgun Wedding
    This Wedding clearly wasn't meant to be a masterpiece, but even as mid-winter fluff it feels like a rush job: a marriage made for lazy-Sunday streaming at best, 'til death — or more likely, a better script — do you part.
  43. Cat Person
    By swerving into territory already better owned by outrageous indies like Promising Young Woman — and to a lesser degree, last year's Sundance breakout Fresh — Cat forfeits its own underlying message, without finding anything else new or even particularly coherent to say.
  44. Missing
    Directors Nick Johnson and Will Merrick sometimes strain the credulity of what shooting in-screen can do — June's laptop camera does a lot of heavy lifting — but the movie rarely feels forced or claustrophobic; it's just a whizzing, cannily of-the-moment spin on a familiar genre, reupped for the Genius Bar age.
  45. Magazine Dreams
    Even as the pacing falters, Majors is impossible to look away from: a man who desperately needs the world to see him — and if they refuse, to feel his pain.
    • 100 Metascore
    • 100 Reviewed by
      Ty Burr
    Celine and Julie Go Boating (1974)
    The pace is daringly languid — at times it seems more like a daydream on a sunny park bench than a movie — but you’ll emerge from this wonderland as if from vacation, and you’ll never look at the intersection between life and storytelling in quite the same way.
  47. The Pale Blue Eye
    Until [Cooper] loses his way in the cascading absurdity of the final twists, though, the movie is mostly a study in how good its two main actors can be: Bale's soulful, hollow-eyed conviction, and his odd-couple chemistry with Melling, isn't quite enough to sell The Pale Blue Eye's loopy improbabilities in the end, but it's still a pleasure to watch them try.
  48. M3GAN
    The tart in-jokes and absurdity of the script, its winky acknowledgment of all the tropes gone before it, feels like a delirious cap on recent genre hits like Barbarian and Malignant.
  49. Adult Swim Yule Log
    You'll not find a more bodacious bonanza of sheer WTFery than the last twenty minutes, which crosscut realities and timelines while doing truly disgusting things with pimento cheese.
  50. Babylon
    Boogie had a dramatic throughline, and something genuinely unsettling to say about the strange soul-bargaining of fame. Chazelle often steers his characters toward tragedy or anguish, without ever quite rooting his inscrutable thesis in anything real.
  51. Avatar: The Way of Water
    The movie's overt themes of familial love and loss, its impassioned indictments of military colonialism and climate destruction, are like a meaty hand grabbing your collar; it works because they work it.
  52. The Eternal Daughter
    Obliquely related to her recent movies, Hogg's latest is either her slyest joke to date, or another swerve in an especially fecund career phase.
  53. Violent Night
    A team of screenwriters more creative than Pat Casey and Josh Miller (best known for two manic Sonic the Hedgehog movies) might have done more with the backstory, and director Tommy Wirkola's beatdowns never transcend the merely serviceable. But there's no denying the joy in a child's eyes when she sees Santa's weapon of choice, a sledgehammer hefted with brutal artistry, and squeals its name: "Skullcrusher!"
  54. Sr.
    There's something lovely and quietly profound about where the film finds itself in the end: a generational love story that transcends old wounds and misadventures, and even, in its tender final moments, death itself.
  55. Spoiler Alert
    Anchored by the ridiculously charming Aldridge's chemistry with Parsons (distant but effective in comparison), Spoiler Alert defies expectations throughout, refusing to adhere to one genre or storytelling convention.
  56. Emancipation
    [Smith's] conviction carries Emancipation a long way, elevating what is essentially a B movie to the realm of something better than its outsize premise: a blunt instrument, maybe, but a brutally affecting one too.
  57. Glass Onion: A Knives Out Mystery
    Glass Onion doesn't feel like a movie that's meant, really, to be peeled. It's here strictly to dazzle you with money and murder and famous-people pandemonium, then sharpen its knives for the next installment.
  58. The Son
    Unlike The Father, which expanded Zeller's stage source material with maze-like complexity, The Son pins us in for an endgame that you wish had more of a takeaway than a gut punch.
  59. Lady Chatterley's Lover
    An unabashedly heady romance, rich in pretty costumes — when they're wearing them — and lush, lusty atmosphere.
  60. Devotion
    Powell and Majors, both born with surfeits of natural charisma, strain mightily to imbue their scant dialogue with deeper meaning, but Devotion, earnest and determinedly earthbound to the end, never really captures the air up there.
  61. The Inspection
    Union's sour presence suggests the tougher film that could have been, bookending the movie with a double dose of viciousness; theirs is a relationship that won't be solved by a crisp uniform. If this is Bratton's calling card — and it should be — her scenes are the ones that suggest the real promise to come.
  62. She Said
    It's faithfully acted by an earnest, intelligent cast, and directed with fervent purpose by Maria Schrader. But the result, for all its galvanizing, well-oiled plot machinations, remains consistently earthbound, and often frustratingly schematic, a movie so bent toward education and edification that it feels a little bloodless in the end — human tragedy as PSA.
  63. The Menu
    The movie loses some momentum in the final third, and tends to over-egg its caricatures of all these platinum-card fools and clueless masters of the universe. But its appetite for destruction is also too much fun in the end to refuse: a giddy little amuse bouche for the apocalypse to come.
  64. Black Panther: Wakanda Forever
    While a Black Panther without Boseman is undoubtedly nothing like the film's creators or any of its cast wanted it to be, the movie they've made feels like something unusually elegant and profound for the multiplex: a little bit of forever for the star who left too soon.
  65. The Wonder
    Wonder's spare, muted intrigue hangs mostly on Pugh and atmosphere, an elusive minor-key mystery.
  66. Bardo, False Chronicle of a Handful of Truths
    As an all-in-one viewing experience, Bardo is undeniably uneven, often maddening, and seems to have approximately 17 endings. Still, the movie is a marvel in its own way, dotted with pure cinephile delights and small unexpected pockets of profundity.
  67. Weird: The Al Yankovic Story
    Eric Appel's directorial debut essentially plays like a movie-length Funny or Die sketch — which it is, technically (or at least produced under that production umbrella): a giddy cameo-stacked satire propelled by murder, mayhem, Mexican drug lords, and athletic sex with Madonna. This is whole-cloth fantasy, of course, and that's the point: less Walk the Line than Walk Hard, with accordions.
  68. Louis Armstrong's Black & Blues
    A global celebrity during America's earliest conversations about civil rights, Armstrong preferred to keep his dissatisfactions to himself, becoming a symbol of change rather than a spokesperson of it. That tension comes to vivid life in Jenkins's worthy account, sure to be appreciated by those who come in on solid footing
  69. All Quiet on the Western Front
    This sprawling German-language adaptation of Erich Maria Remarque's classic WWI novel is a film that feels both aesthetically dazzling and full of necessary truths: an antiwar drama that transcends the bombast of propaganda mostly just because it's so artfully and indelibly made.
  70. Black Adam
    Black Adam is what happens when artists say they want to go dark but don't really have the stomach for it. Cue scenes of humorless mid-air wrestling, shake vigorously, wait for the sequel.
  71. Ticket to Paradise
    There's no doubt both actors deserve sharper, less silly material than this, but when they're playing beer pong in a Bali bar and drunkenly pogo-ing to House of Pain's "Jump Around," Paradise is almost, for a moment, a place on Earth.
  72. Raymond & Ray
    The whole thing is so airless and hollowly constructed, so full of mimed but unfelt feelings, that it's a relief to put this body in the ground and forever hold your peace.
  73. Wendell & Wild
    You'll forgive the movie its cluttered shagginess because its universe is so strange — even an icy puddle is rendered exquisitely.
  74. Aftersun
    Though any honest summation can't do it justice, Charlotte Wells's tender feature debut is the kind of revelation that movie fans dream of finding: not a wow so much as a guaranteed piece of emotional ravishment.
  75. The Good Nurse
    It feels like a faint insult to say that The Good Nurse could be a premium-cable product from long ago, one of those lightly prestige-y Sunday-night movies Showtime or HBO used to make. But it's also one crafted with sturdy, consummate skill, burnished by two Oscar winners who don't stint on their performances just because most people will end up seeing Nurse on a small screen.
  76. Halloween Ends
    Before it lumbers to its big showdown — halfheartedly, with all the excitement of a third installment of a third reboot cycle — Halloween Ends is an unusually Michael Myers-free affair. Where's the big guy?
  77. Till
    Till-Mobley's choice to let the world see what Mississippi had done to her son — she demanded an open casket at his funeral — helped ignite a movement, and made history. Till bears stirring witness to that, even if it leaves the full measure of her life a mystery.
  78. Luckiest Girl Alive
    Luckiest Girl is the kind of rainy-day thriller Netflix was made for: lurid, entertaining, patently silly. It's also kind of a mess, though at least some of that likely comes from condensing the busy, grisly events of a best-selling book into less than two hours of screen time.
  79. Triangle of Sadness
    Triangle hits more marks than it misses, and in a somber, often underwhelming season of would-be arthouse hits, the movie is a bona-fide trip: not the funhouse mirror we need for these ridiculous times, maybe, but one we deserve.
  80. God's Creatures
    As an acting showcase, Creatures is more than admirable; as a tourism ad for Ireland, untenable. As a movie experience, alas, it's both intriguing and teasingly incomplete.
  81. Smile
    Bacon is great fun as a girl on the verge of a nervous breakdown, chirping with increasing desperation that she's fine, and Finn is a pleasingly nervy stylist, letting the camera tilt and flip at seasick angles and ratcheting the tension as he goes. Smile is a pretty silly movie by any metric; still, it has teeth.
  82. White Noise
    Compared to the tender groundedness of Baumbach's finest films, like The Squid and the Whale and Marriage Story, the scampering leaps and feints of his script here come off as deliberately arch, even artificial. The movie's final scene, though, without spoiling too much, is also easily its best.
  83. Amsterdam
    The production and costume design are, unsurprisingly, impeccable. But the resolution of the central mystery is both rushed and obtuse, and it all unfolds in a frenetic, flailing whirl of pomp and nonsense that Amsterdam's strange circuitous journey and almost embarrassing surplus of stars never quite justifies: a whirring music-box curiosity in search of some elusive purpose, and a point.
  84. Bros
    Bros wears its queerness proudly, without stooping to cater overmuch to whatever elusive demographics might qualify it as a "crossover" success. But good comedy doesn't hang on pronouns or preferences; like this sweet, sharp movie, all it has to be is itself.
  85. Nothing Compares
    As an intimate, often infuriating portrait of an artist and era, it's hard to argue with the raw power of the story on screen — and the timeliness of it too, no matter how long overdue.
  86. Catherine Called Birdy
    A sly fairytale about a medieval tween that manages to be both cheeky and modern without losing its heart.
  87. A Jazzman's Blues
    [Perry] also has a way of making even the most telegraphed twists and overheated dialogue ring with conviction, a consummate entertainer to the end.
  88. Pearl
    Co-scripting with her director, Goth is the standout, displaying a verbal vigor and earthiness she's been unable to tap so far (not even in movies like Nymphomaniac and A Cure for Wellness).
  89. Blonde
    The main thing the movie misses in portraying Marilyn solely as a tragic sex bomb isn't just the pleasure that Monroe herself brought to millions, but de Armas's inner light too. The spark and vitality so evident in previous projects like Knives Out and No Time to Die has been smothered down to one note: walking wound. What's left is mostly empty iconography and a few indelible images, a bombastic curiosity wrapped in the guise of high art. Some like it cold.
  90. The Banshees of Inisherin
    To be corny, which the film is decidedly not, it's about life: the brevity of it, the risks we do or don't take, who in the end we choose to share it with. And for all the pettiness, absurdity, and outright threats of violence, it's pretty feckin' wonderful.
  91. Causeway
    It's nice to see actors like these do such subtle, sympathetic work for a gifted young director — and to find an outlet for storytelling that doesn't demand neat redemption, but still allows for grace.
  92. My Policeman
    Policeman, as emotionally earnest and elegantly made as it is, mostly feels like a movie we've seen many times before: a pleasantly escapist two hours with pretty people in pretty clothes, madly sublimating their feelings until the final, luminous frame.
  93. The Whale
    Here it often feels clumsy and maddeningly inconsistent, stranding Fraser in a melodrama undeserving of his lovely, unshowy performance. Whatever he wins for The Whale — and early prizes have already come — he deserves. The rest is just chum.
  94. The Fabelmans
    Because it's Spielberg, it's all beautifully, meticulously rendered, and not a little glazed in wistful sentiment: an infinitely tender, sometimes misty ode to the people who raised him and the singular passion for cinema that shaped him.
  95. The Woman King
    The fighting, when it comes — from competing tribes, and from white colonizers steadily advancing an international slave trade — is viscerally satisfying too, even as the screenplay, by Dana Stevens (Fatherhood) and actress Maria Bello, works mostly in the broad strokes of genre storytelling.
  96. Bones and All
    Take away the people-eating, and it could almost be a Springsteen song. Which often makes it feel, in a strange way, like Guadagnino's most traditional film to date — a born provocateur's faithful ode to a classic cinematic genre, only with human gristle between its teeth.
  97. TÁR
    The movie belongs to Blanchett, in a turn so exacting and enormous that it feels less like a performance than a full-body possession.
  98. Don't Worry Darling
    The movie, whatever its pile of ideas about love, gender constructs, and modern living, never really transcends Stepford mood-board pastiche. It's all nefarious and gorgeous, Darling, and strictly nonsense in the end.
  99. Empire of Light
    Colman, her eyes darting between hope and devastation, is so lit-up and specific (and funny, a quality that doesn't seem to get mentioned enough) that she lifts nearly every scene.
  100. Women Talking
    There's a deep vein of humor and humanity that Polley and her actors mine from the text, and something quietly mesmerizing in their meticulous world-building.
Page:

Top Trailers

See all »
See all trailers »