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 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
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  1. Never Rarely Sometimes Always
    There’s no need to heavily editorialize here; Hittman is an assured enough filmmaker to portray this drama honestly and non-manipulatively, trusting her audience to interpret the complicated heartbreak of Autumn’s predicament without having to explain it to them.
  2. The Lord of the Rings: The Fellowship of the Ring
    Vibrantly, intricately alive on its own terms. This is what magic the movies can conjure with an inspired fellowship in charge, and unlimited pots of gold.
  3. The Zone of Interest
    The Zone of Interest is a formalized and frightening Holocaust film, largely for the ways it displays the Hoss family as merely human beings. It's a stark reminder of our complicity and the capacity for great evil in the most mundane of circumstances.
  4. Quiz Show
    Working from a superb script by Paul Attanasio, Redford has caught the way a show like Twenty-One offered a carny-barker version of the American Dream.
  5. Leviathan
    As in the Coen brothers' great "A Serious Man," the Book of Job looms large here — which is likely how director Andrey Zvyagintsev secured support from his country's censorship-happy Ministry of Culture.
  6. Le Cercle Rouge (1970)
    The antidote to every square tough-guy caper you've ever seen, and the inspiration for many great ones. It is an existential imperative to seek out a showing and burn rubber to get there, preferably in an excellent car.
  7. Toy Story 3
    Toy Story 3 is a salute to the magic of making believe.
  8. The Souvenir
    The story casts a spell, and Swinton Byrne is a milky, beguiling presence; it’s almost as if you’re watching her become a person in real time.
  9. Tower
    Tower allies itself with the heroes on the ground and the immeasurable courage they displayed, risking everything for the sake of strangers. That’s a story worth telling, one worth remembering, and what makes Tower a must-see.
  10. Moolaadé
    The result: This great work of art has the potential to change the world.
  11. A Summer's Tale
    Eric Rohmer’s sun-kissed love quadrangle remains as fresh and romantically profound as it was 18 years ago.
  12. Atanarjuat: The Fast Runner
    Stunning, fully formed masterpiece.
  13. L.A. Confidential
    Voluptuously engrossing.
  14. Three Colors: White
    There’s something earthy and elemental in this tale that was missing in Blue, something quirky and (measured by Kieslowskian standards) energetic.
  15. Time
    It tells a story as urgent and beautifully human as almost anything on screen this year.
  16. The Killing
    The kind of Swiss-watch precision and attention to detail that would eventually get Kubrick labeled Hollywood's most notorious perfectionist.
    • 91 Metascore
    • 100 Critic Score
    Swing Time
    Top Hat is tops with two of the duo’s most sublime numbers. The George Stevens-directed Swing Time, featuring glorious Jerome Kern-Dorothy Fields songs, is just as good.
  18. Lost in Translation
    What's astonishing about Sofia Coppola's enthralling new movie is the precision, maturity, and originality with which the confident young writer-director communicates so clearly in a cinematic language all her own.
  19. After Life
    The simplicity and poignancy of the choices — riding a bus, swinging on a swing — and the great variety of interviewees result in a film of nonsticky freshness, as well as unforced profundity.
  20. Son of Saul
    It’s the rarest kind of moviegoing experience: an absolute masterpiece.
  21. Her
    Jonze's satiric, brave-new-world premise is undeniably clever, but it's also a bit icy emotionally.
  22. Little Women
    If Gerwig’s woke Women-hood verges on anachronism, though, it also feels fully loyal to the spirit of Alcott, a woman always well ahead of her time. And like a sort of balm too, for an era when the novel’s long-held values — courage, kindness, strength in vulnerability — still feel a lot further away than they should.
  23. The African Queen
    Bogart is hilariously crusty as a hard-drinking river rat who journeys downriver on a rickety steamer with a prim missionary (a flawless, lock-jawed Hepburn), trying to stay one step ahead of the Germans.
  24. The Triplets of Belleville
    If ''Finding Nemo'' is an awesome Pixar superpower, The Triplets of Belleville is a charming, idiosyncratic, self-governing duchy with huge tourism potential on the other side of the animated-movie planet.
  25. Stories We Tell
    By the end, the rug gets pulled out from under us, showing that even the reality we think we see may be an illusion.
  26. Nickel Boys
    Nickel Boys is a fragmented film, so much so that it can be difficult to grasp it. But at a certain point, it turns around and grabs you instead, refusing to let go until you're left sitting in a startling and stunned silence.
  27. Ida
    With her brassy, determined aunt, Ida sets off to find answers and discovers life beyond the convent walls in this leisurely but satisfying journey.
  28. Beau Travail
    (Denis's) visual style is hypnotic, rapturous, and she makes barren landscapes look gorgeous, hard men look vulnerable.
  29. Waltz with Bashir
    Waltz With Bashir has transcended the definitions of ''cartoon'' or ''war documentary'' to be classified as its own brilliant invention.
  30. Anora
    In Madison, Baker has found a perfect conduit for his ideals, making Anora a culmination of the themes that have dominated his work for years.
  31. The Favourite
    This couldn’t be further from the corsets and curtsies of your typical Hollywood prestige period piece. It’s more like "All About Eve" directed by a Satyricon-era Fellini all hopped up with enough sex, deviance, hypocrisy, decadence, and spicy profanity to make your average Masterpiece Theatre patron reach into their PBS tote bag for some smelling salts.
  32. Halloween
    Carpenter's brutally efficient exercise in tension and release.
  33. The Sweet Hereafter
    Leaves you shaken and ecstatic at the same time, transported by the vision of a major film artist.
  34. Ghost World
    A buoyant, funny, and disarmingly humane comedy of beautiful losers in revolt.
  35. Bambi
    Naturally, if you’re putting it before youngsters’ innocent eyes for the first time, you’ll want to stick close by in order to play grief counselor when Bambi’s mother ”meets” a hunter in the woods.
  36. The Gatekeepers
    The film, by seasoned cinematographer Dror Moreh, is a feat — of access and of passionate and appropriately unsettling political commentary.
  37. Before Sunset
    The new film, which unfolds in real time over the course of 80 minutes, is a deeper, darker, altogether more memorable experience. It doesn't extend the characters so much as fulfill them.
  38. The Worst Person in the World
    Worst has no shortage of gorgeous-people problems — more than enough, in fact, to fill 12 cinematic "chapters" — but it vibrates with real life, a film so fresh and untethered to rom-com cliché it might actually reshape the idea of what movies like this can be.
  39. Saving Private Ryan
    A movie of staggering virtuosity and raw lyric power, a masterpiece of terror, chaos, blood, and courage.
  40. Licorice Pizza
    Licorice (the title, never once mentioned or explained, remains a happy non sequitur) is a love letter to an era, and more than that a feeling: a tender, funny ramble forged in all the hope and absurdity of adolescence, one wild poly-blend rumpus at a time.
  41. Only Yesterday (1991)
    Only Yesterday may have been released in 1991 and take place in 1982 and 1966, but Taeko’s reflection on girlhood is truly timeless.
  42. The Crying Game
    By the time The Crying Game is over, you'll never look at beauty in quite the same way.
  43. First Cow
    A bittersweet comic absurdity, told in the rhythms of real life.
  44. Mad Max: Fury Road
    When you get past Miller’s orgy of loco action sequences—and they’re so good, you may not need to—the story is pretty thin.
  45. Winter's Bone
    One of the unshowiest and most true-blooded epics of Americana you're ever likely to see.
  46. The Queen
    Helen Mirren's allure lies not in finding what's regal in every woman she plays, but in finding what's womanly in every royal.
  47. 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.
  48. The Hustler
    Paul Newman won his Best Actor Oscar for its 1986 sequel, The Color of Money, but he executed an equally award-worthy turn in Robert Rossen’s jazzy, boozy pool-hall morality play.
    • 90 Metascore
    • 91 Critic Score
    Red Beard
    Remember when ”ER” delivered keen social critiques wrapped in satisfying drama? If you miss that medicine, you need a dose of director Akira Kurosawa’s Red Beard, a three-hour soap opera about a 19th-century Japanese clinic.
  50. Bloody Sunday
    It's a mad cycle of arrogance and despair, and Bloody Sunday etches it onto your nervous system.
  51. Blue Is the Warmest Color
    Blue's raw portrayal of infatuation and heartbreak is both devastating and sublime. It's unforgettable.
  52. American Splendor
    American Splendor presents Pekar as drawn on the page, Pekar as brilliantly interpreted by Paul Giamatti, and the actual Pekar, in the double role of narrator and interview subject -- sometimes all at once. The magic act is thrilling, and truly surprising.
  53. Phantom Thread
    Like all of Anderson’s films (the best of which remain Boogie Nights and Magnolia), Phantom Thread is meticulously crafted, visually sumptuous, impeccably acted, and very, very directorly. But until the final act, this straight-jacketed character study is also pretty tame stuff — emotionally remote, a bit too studied, and far easier to admire than surrender to and swoon over.
  54. Gosford Park
    The movie might almost be winking at the fact that any single one of these performers could easily be the featured star of his or her own upper-crust period piece.
  55. The Souvenir: Part II
    Nothing in Souvenir Part II is obvious; one could argue it's even obtuse to the point of excluding most casual moviegoers. But surrendering to Hogg's slow alchemy still feels like a rare treat: a beguilingly meta portrait of the artist as a young woman learning to find herself not just in the mirror of others, but in her own hand behind the camera.
  56. This Is Not a Film
    This is a great film, and a triumph of creativity and courage over repression.
    • 90 Metascore
    • 75 Critic Score
    To Have and Have Not
    The ”you know how to whistle, don’t you?” scene is justifiably famous, and there’s plenty more where that came from.
  58. Finding Nemo
    You could trawl the seven seas and not net a funnier, more beautiful, and more original work of art and comedy than Finding Nemo.
  59. Topsy-Turvy
    Topsy-Turvy reminds us that, in any age, creative expression is at once the most personal and most communal of enterprises.
  60. Being John Malkovich
    The most excitingly original movie of the year.
  61. The Incredibles
    Dazzlingly beautiful, funny, and meaningful.
  62. A Prophet
    There's also no romanticizing on the part of the director, who proceeds with calm, unshowy attentiveness (even in the midst of scenes of violence), creating a stunning portrait of an innately smart survivor for whom prison turns out to be a twisted opportunity for self-definition.
  63. Almost Famous
    Crowe, staying close to his memories, has gotten it, for perhaps the first time, onto the screen.
  64. 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.
  65. Cold War
    Director Pawel Pawlikowski’s Cold War resembles a waking dream. And a ravishingly romantic one at that.
  66. The Truman Show
    A beautifully sinister and transfixing entertainment-age daydream.
  67. Once
    Until Once, I'm not sure that I'd ever seen a small-scale, nonstylized, kitchen-sink drama in which the songs take on the majesty and devotion of a musical dream.
  68. Big Men
    Rachel Boynton’s gripping doc shows you what happens when the greed of oil companies meets the chaos of postcolonial Africa.
  69. Paterson
    Even though Jarmuch has a distinct directorial style, it’s his style. It’s impossible to imitate. These days, I can’t think of a higher compliment.
    • 90 Metascore
    • 100 Critic Score
    Raging Bull
    Another harsh character study, with poignant echoes of "Taxi Driver."
  71. United 93
    Pulling the bandage of sentiment cleanly away from oozing concepts like ''heroism'' and ''our nation's war on terror'' in the aftermath of recent wounds, here's a drama about the most politically charged crisis of our time that grants the dignity of autonomy to every soul involved.
  72. Capturing the Friedmans
    An extraordinary film; it may be the most haunting documentary since ''Crumb.''
  73. American Hustle
    It's a film of jaw-dropping virtuosity and pleasure, one that leaves you revved, enthralled, tickled, moved, and amazed.
  74. The Passenger (re-release)
    The Passenger isn't finally the masterpiece some have made it out to be, but it retains a singular intrigue: It's the first, and probably the last, thriller ever made about depression.
  75. Persepolis
    The movie sparkles with witty self-awareness.
  76. The Age of Innocence
    Up through its first half, The Age of Innocence is a masterfully orchestrated tale of romantic yearning.
  77. Eternal Sunshine of the Spotless Mind
    Watching Eternal Sunshine, you don't just watch a love story -- you fall in love with what love really is.
  78. The Best of Youth
    Like a great novel from a more expansive bygone age, The Best of Youth is full of big thoughts; like a great soap opera, it's also full of sharp plot turns, vibrant characters, and great talk. It is, in short, the best of cinema.
  79. Whiplash
    If you can appreciate the sight of two totally dialed-in performers simmering until they boil over, that's enough. And P.S., that's pretty much the definition of jazz.
  80. The Lives of Others
    Utterly riveting fictional drama.
  81. House of Flying Daggers
    An outrageously gorgeous spectacle of balletic aggression. At the same time, it offers something we rarely encounter in a whirling martial-arts extravaganza: a romantic passion that's woven into the very fabric of the action.
  82. Minding the Gap
    It’s heartbreaking, raw, and true. But it never veers into exploitation or becomes oppressively maudlin.
  83. Searching for Bobby Fischer
    A wonderful movie, a delicate and touching drama that takes us deep inside the eccentric competitive mystique of grandmaster chess.
  84. Two Days, One Night
    With her wide, sad eyes and quiet air of embarrassment tinged with pride, Cotillard's Sandra is asking a question not only of her colleagues but of the audience, too: Are we willing to put aside our own self-interest for the sake of empathy? Are we cowardly or brave? Cotillard's exquisite performance makes you feel every ounce of the weight of that dilemma.
  85. National Gallery
    The knowledge that Rembrandt recycled his own paintings doesn't minimize the scene in Frederick Wiseman's documentary where we see an X-ray of one of the Dutch master's portraits — and go, ''Wow!''
  86. Man on Wire
    The gorgeous music includes Ralph Vaughan Williams' wafting tone poem ''The Lark Ascending'' -- apt in describing an artist who might well be part bird.
  87. Y Tu Mamá También
    Sad, funny, sexy, and altogether marvelous.
    • 89 Metascore
    • 100 Critic Score
    Force of Evil
    A highly stylized tale.
    • 89 Metascore
    • 100 Critic Score
    White Heat
    Walsh’s White Heat, starring Cagney in great form as psychotic mamma’s boy Cody Jarrett, is shot by shot, frame by frame, the hard-boiled masterpiece of the bunch.
  90. Elle
    We get to watch another unforgettable and incomparable Huppert performance.
  91. Still Walking
    A film of droll and dry observational precision, its emotional minimalism is almost fetishistic -- and, by the end, a tad frustrating.
    • 89 Metascore
    • 75 Critic Score
    Thelma & Louise
    Never quite connects with us emotionally, yet the more it shades off into the gonzo-poetic, the more fun it becomes.
  93. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan
    When Baron Cohen works without a net, he flies.
  94. Minari
    Minari works quietly and methodically, embracing its lush rural setting with striking glimpses of its characters, alone against vast and empty landscapes. Chung’s directing feels drawn from memory, the scattered and sparkling quality of recollections, carefully assembled. It’s perhaps why every second rings so true.
  95. Barry Lyndon
    To watch Ryan O’Neal’s performance as the upwardly mobile Barry, part victim and part cad, is to see Kubrick’s perverse genius with actors. He cast a dullard only to jolt us, by the end, with the revelation of the bastard within.
  96. The Farewell
    Wang’s story outline shares the familiar contours of other immigrant tales: the Babel tower of half-spoken languages; the ties that bind across oceans, and the physical and cultural gaps that can still break them. But Farewell also has the freshness of her own distinct voice, a dry humor and low-key melancholy that infuses even the most quotidian scenes.
  97. The Tale of The Princess Kaguya
    Glacially told gem from animator Isao Takahata, the 78-year-old cofounder with Hayao Miyazaki of Studio Ghibli.
  98. No End in Sight
    Ferguson spotlights two massive mistakes: the looting that was allowed to continue, destroying Iraqi infrastructure and morale; and--far more revelatory -- the apocalyptically stupid decision to disband the Iraqi army, sending half a million angry soldiers into the streets.
  99. The Madness of King George
    The humor built into this sharp-witted human comedy is enhanced in the translation. Meanwhile, the arrestingly stylized imagery of the original Madness has not been lost.
  100. Phoenix
    The plot is just implausible enough to keep the film from greatness, but director Christian Petzold (Barbara) stirs up a powder-keg metaphor about rebuilding after war.
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