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
7797 movie reviews
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  1. Only Lovers Left Alive
    It's always a thrill to see what an artist as singular as Jarmusch will do next. I just wish that his foray into the world of the undead had a little more to sink its beautiful fangs into.
  2. So Much So Fast
    So Much So Fast (spanning five years) elegantly presents both a critique and a celebration of American optimism.
  3. The People vs. Larry Flynt
    The film catches us by surprise in its moving portrayal of the love between Larry and Althea, played by Courtney Love in a performance that glides from kinky abandon to stark tragedy.
  4. Selma
    DuVernay has done a great service with Selma. Not only has she made one of the most powerful films of the year, she's given us a necessary reminder of what King did for this country...and how much is left to be done.
  5. Furiosa: A Mad Max Saga
    Furiosa can’t possibly be as mind-blowing as its predecessor, but it does allow us to spend a little more time in this world and Miller’s mind. No other working action filmmaker sees the world the way he does.
    • 79 Metascore
    • 83 Critic Score
    Pat and Mike
    Pat and Mike is notable for featuring such actual female sports stars as Babe Didrickson Zaharias and Betty Hicks, and for displaying Hepburn’s own athletic prowess.
  7. 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.
    • 79 Metascore
    • 75 Critic Score
    Thieves
    The cumulative effect in Thieves is quite haunting.
  9. The Assistant
    Instead of melodrama, the movie finds its traction in parsing out micro-aggressions and mood: a sort of devastating slow-drip portrait of the power structures that allowed a man like Weinstein to happen — and keep more like him in place, untouched by any justice a hashtag can reach.
  10. Dawn of the Planet of the Apes
    A sequel that easily tops its 2011 predecessor.
  11. IMAX: Hubble 3D
    Awesome documentary.
  12. Trolösa
    A domestic tragedy of lacerating vision.
  13. Into the Arms of Strangers: Stories of the Kindertransport
    The dramatic power, though, comes entirely from the eloquence of old people, shot in medium close-up, barely moving as they remember things.
  14. Blind Spot. Hitler's Secretary
    Her memories lack the quality of revelation -- that is, up until the remarkable final section, in which she describes the last weeks in the bunker with Hitler and Eva Braun.
  15. Affliction
    Affliction -- a beautiful bummer, a magnificent feel-bad movie -- is American filmmaking of a most rewarding order.
  16. Praise
    Heavier on mood than incident, but its vision of a doomed erotic power war has a lurching authenticity.
  17. Hustlers
    Beneath all the chinchilla and body glitter, there’s a smart, beating heart.
  18. Life of Pi
    Lee's bigger theme isn't God or survival, but the awesome adventure of making the imaginary visible, the adventure of making movies.
  19. Let Me In
    The surprise of Let Me In is that director Matt Reeves (Cloverfield) hasn't just remade the Swedish cult vampire film "Let the Right One In" into a more fluid and visceral movie. He's made it more dangerous.
  20. Fences
    It’s as good as screen acting gets.
  21. The Witness
    The powerful thrust of the film comes from its critique of the media.
  22. Miss Bala
    Loosely based on real events, this harrowing, superbly made drama by fast-rising filmmaker Gerardo Naranjo (I'm Gonna Explode) is Mexico's 2012 submission for Best Foreign Language Film - rightfully so.
  23. Conclave
    Conclave is packed with unexpected twists and its final reveal is one viewers will never see coming, an increasingly rare occurrence in modern movie-making and the mark of an impeccably crafted thriller.
  24. Mother
    Another must-see marvel of horror, comedy, and impeccable filmmaking by the Korean director Bong Joon-ho.
  25. Free Willy
    It's an irony too significant to ignore that the movie, which proselytizes against penning up whales in order to make them do cute tricks for humans, spends much of its time making Willy do cute tricks for humans.
  26. Keep the Lights On
    Lindhardt, sweet and childish and achingly vulnerable, gives a stunning performance.
  27. Another Round
    Mikkelsen has become perhaps Denmark’s most familiar face Stateside over the past decade. But he still feels most in his skin in roles like these, and in Round’s final ecstatic scene, the actor does what only true stars seem able to: Take the silly or messy or improbable, and make it fly.
  28. Joe Strummer: The Future Is Unwritten
    Captures the Joe Strummer who, in the late 1970s, just about firebombed the rock establishment with his fury.
  29. Shiva Baby
    Enter Shiva at your own risk then: a hell of Danielle's own making maybe, but still a witty, jittery trip.
  30. Searching for Sugar Man
    The yarn is too irresistible: We're fed plenty of sugar in this authorized fairy tale, but are left hungry for beef.
  31. Sing Street
    It’s like a lost John Hughes movie with Irish brogues and cars that just happen to drive on the other side of the road. It’s also, sadly, exactly the kind of sweet little film that too often gets buried in a box office ruled by broader comedies and bloated superhero epics
  32. Keane
    The movie draws us into complicity with someone who may be on the verge of insanity, but only because he's living with the unbearable.
    • 79 Metascore
    • 75 Critic Score
    Yellow Submarine
    Sure, some of the puns and in-jokes sound a little dated, but any movie that strings together lines from Shakespeare merely as a throwaway comic riff is, in my book, a film for the ages.
  34. Va Savoir (Who Knows?)
    It's all very French, very intricate, and -- this is Rivette's magic -- seemingly as light as air.
  35. Manufactured Landscapes
    Jennifer Baichwal's gorgeous documentary Manufactured Landscapes amplifies the powerful work of Edward Burtynsky, a Canadian artist who specializes in large-scale photographs of terrain transformed by civilization into rivers and tides of industrial ugliness.
  36. Zodiac
    Zodiac never veers from its stoically gripping, police-blotter tone, yet it begins to take on the quality of a dream.
  37. Priscilla
    Priscilla is incisive in its portrayal of its central relationship, but it needs a little less conversation, a little more action when it comes to its heroine's path to self-determination.
  38. Run Lola Run
    An existential chain reaction, yet as remarkable as his cinematic gamesmanship is the way that he traces the anatomy of feeling in Lola.
  39. Black Swan
    Lurid and voluptuous pulp fun, with a sensationalistic fairy-tale allure. You can't take it too seriously, but you can't tear your eyes away from it, either.
  40. Black Bear
    It’s brainy, sure, but the emotional experience is what’s most vivid. The plot beats may confound you, but the feelings behind them are crystal-clear.
    • 78 Metascore
    • 91 Critic Score
    Hilary and Jackie
    Neither the stars' harmonious interplay nor director Anand Tucker's insistent urbanity of camera work can disguise that the cello drama is melodrama.
  42. i'm thinking of ending things
    Buckley and Plemons are left to carry that water for much of I'm Thinking's 134-minute runtime, and they're both fantastically game, infusing the movie's heady concepts with a naturalism that borders on heroic.
    • 78 Metascore
    • 100 Critic Score
    Lady and the Tramp
    The first animated feature filmed in CinemaScope.
  44. Indignation
    The dean was more of a cartoon in Roth’s book, but Letts lends him a slippery wit that, much like the movie, is surprisingly potent.
  45. The Devil's Backbone
    Del Toro builds excitement, dread, and melodrama in equal layers.
  46. Speak No Evil
    Pay no attention to the shades of late-night cable in the title; Speak No Evil is a lamentably generic name for a movie as stark and unsettling as Christian Tafdrup's queasy, inexorable thriller.
  47. A Brief History of Time
    Directed by the ingenious documentarian Errol Morris (The Thin Blue Line), A Brief History of Time held out the promise of being an audacious, brain-bending experience. Instead, it's plodding and disappointingly conventional.
  48. Enough Said
    It shows us how rare love is — and how we need to grab it and not let it go.
  49. A Different Man
    The final result is a messy but memorable effort, with Stan, Pearson, and Reinsve giving performances that are anything but skin-deep.
  50. 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.
  51. 28 Weeks Later
    Excels at creating a keen, creepy sense of a civilization stopped dead in its tracks -- vaporized, almost, except for those disemboweled bodies left still undisposed.
  52. Insomnia
    Superb psychological thriller.
  53. Kajillionaire
    Jenkins and a nearly unrecognizable Winger make the most of their small monsters, peeling back layers of callousness and calculation to hint at the messier motivations underneath.
  54. Control
    Control goes past the clichés of punk rock-god gloom to offer a snapshot of alienation that's shockingly humane.
  55. The House of Mirth
    This stunning movie -- one of the very best of the year -- makes a much read American classic feel new and freshly devastating.
  56. My Flesh and Blood
    You'd have to be a stone not to be affected by My Flesh and Blood, but the director, Jonathan Karsh, merges compassion with voyeurism until you can't tell the difference.
    • 78 Metascore
    • 83 Critic Score
    Long Strange Trip
    It’s all about finding the gems, and Long Strange Trip is a treasure chest.
  58. Top Gun: Maverick
    Director Joseph Kosinski (TRON: Legacy) revels in the sonic-boom rush of their many flight scenes, sending his jets swooping and spinning in impossible, equilibrium-rattling arcs. On the ground, too, his camera caresses every object in its view, almost as if he's making a rippling ad for America itself.
  59. Gas Food Lodging
    Gas Food Lodging is really about the same thing Thelma & Louise was about: It’s a portrait of working-class women betrayed and abandoned by men. Yet I vastly preferred this movie’s generous and buoyant tone.
  60. Starting Out in the Evening
    Andrew Wagner has made a lovely comedy of death and rebirth.
    • 78 Metascore
    • 100 Reviewed by
      Ty Burr
    Princess Mononoke
    Has the effect of making the average Disney film look like just another toy story.
  62. Head-On
    Propelled by ferocious sex, nasty violence, and coy interludes of traditional Turkish love songs.
    • 78 Metascore
    • 83 Critic Score
    The Witches
    From scene to scream, The Witches is good mean fun for the whole family.
  64. Lightning in a Bottle
    The music's sensational, but you keep waiting for the pledge number to flash up.
  65. Warfare
    That the specific task at hand in Warfare is so vague is a good reminder that though this happened 20 years ago, there are people right now who have been ordered to enforce political will with violence, and this savagery will likely repeat for all time.
  66. The Deep End
    Displays a promise it doesn't, in the end, live up to. See it for Swinton's embodiment of unadulterated maternal will.
  67. The Taste of Others
    Jaoui handles her crowd of vivid characters so naturally, and shoots her scenes so unobtrusively, that the diagrammatic cleverness of the plot never overwhelms the intelligence of the observations.
  68. Beware of Mr. Baker
    Spitting obscenities at the film's director, Jay Bulger, Baker recalls his days as: the '60s thrash caveman who gave Cream and Blind Faith their transcendent power surge; the pioneer of druggy hotel-room rampages; and the damaged purist who left the pop world for Africa. The movie salutes the rhythms and the wreckage.
    • 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.
  70. A Bug's Life
    So obsessed with wowing you, in every corner of every frame, that as a movie it doesn't quite breathe.
  71. The War Room
    By the end of the movie, you realize that these two have devised nothing less than a media-age alternative to the Nixon era’s dirty tricks. The War Room is a giddy celebration of clean tricks.
  72. Precious: Based on the Novel 'Push' by Sapphire
    It's a potent and moving experience, because by the end you feel you've witnessed nothing less than the birth of a soul.
  73. Funny Ha Ha
    Andrew Bujalski's Funny Ha Ha, an ebullient sliver of a movie, follows a group of men and women in their early 20s, and for once the un-dialogue dialogue doesn't come off as an affectation.
  74. After Yang
    Like its muse, the movie feels a little like a black-box experiment, one that can be both frustratingly opaque and achingly lovely: a still-waters mystery whose ripples, even up to the last frame, only hint at what lies beneath.
  75. Into Great Silence
    The movie has a hushed sensual resonance, but it turns faith into an endurance test.
  76. Gloria Bell
    Moore — vulnerable but undauntable — lives every moment in her skin, fantastic to the last glorious frame.
  77. Blue Jasmine
    The movie is rich with class tension, and if Allen nails the moods of the wealthy, he also gets surprising, dynamic performances from Hawkins, Cannavale, and Andrew Dice Clay as the folks who have no money but may have a fuller sense of what life is.
  78. It Comes at Night
    With his follow-up, It Comes at Night, Shults has conjured another master class in anxiety, claustrophobia, and dread. He’s a natural-born filmmaker.
  79. Hellboy II: The Golden Army
    The Golden Army dazzles like something out of "Jason and the Argonauts." To make a comic-book fantasy this derivative yet this dazzling requires more than technique. It takes a director in touch with his inner hellboy.
  80. Please Give
    In Please Give, the sharp-eyed filmmaker sends her vibrant representative out into the world to explore what it means for a woman to be lucky and still feel itchy. The report has the resonant ring of truth.
  81. Painted Fire
    Art history majors may write in with corrections. Meanwhile, I'm declaring that the masterly, big-canvas biographical drama Chi-hwa-seon: Painted Fire is about the Jackson Pollock of 19th-century Korea.
  82. Lumumba
    What matters now, what Lumumba conveys, is the urgent chaos of revolution.
  83. How I Killed My Father
    The script is a steady accretion of small stabs to the heart, propelling the gorgeous performances of Berling, Regnier, and especially the 76-year-old French cinema veteran Bouquet, whose every faint smile is killing.
  84. Good Luck to You, Leo Grande
    Thompson is, unsurprisingly, a force: alternately brittle and vulnerable and mordantly witty, her whole body vibrating with a lifetime's worth of sublimated desire.
  85. Born Into Brothels: Calcutta's Red Light Kids
    Designed to be "inspirational," yet it shortchanges the complex reality of the lives it makes such a show of saving.
  86. The Freshman
    The Freshman has its moments — I enjoyed Paul Benedict’s performance as a pompously self-infatuated film professor — but mostly it plods along like that lizard. Still, whenever Brando shows up the screen just about twinkles.
  87. 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.
  88. Roadrunner: A Film About Anthony Bourdain
    Roadrunner, steeped in the jittery punk-rock style and verve of its famously omnivorous muse, registers as more than a requiem or a postscript. It feels like an essential document­, created in the radical no-reservations spirit in which he lived
  89. Amanda Knox
    What you end up with are portraits of individuals — people who are scared or angry or ambitious — all a part of a story that, from the start, ignored their humanity.
  90. High Flying Bird
    Written by Oscar-winning Moonlight screenwriter Tarell Alvin McCraney, the new film feels stagey, confusing, and didactically obvious. You can tell that it was written by a playwright (which McCraney was and is).
  91. The Humans
    The cast's chemistry never quite gels beyond their staged circumstances, and too much of the dialogue replicates actual life without finding a deeper resonance: the rambling anecdotes, latent passive aggressions, and aimless small talk of ordinary people just living their lives.
  92. Amandla! A Revolution in Four Part Harmony
    The songs of the South African freedom fighters were a literal call to arms. The music succeeded -- magnificently. The movie, on the other hand, is only so-so.
  93. Dirty Pretty Things
    Jammed with banner-ready political rhetoric, and the relentlessness of the lectures is wearying. The plot, on the other hand, is a standard contraption built on enduring urban anxieties and involving a nasty hotel-room trade.
  94. Punch-Drunk Love
    Deeply rich and strange new romantic comedy.
  95. O'Horten
    Jack Nicholson's dyspeptic retiree in "About Schmidt" would no doubt identify with O'Horten's entertaining pain.
    • 78 Metascore
    • 75 Reviewed by
      Ty Burr
    The Princess Bride
    Reiner's penchant for hip little riffs -- Billy Crystal as a yiddish wizard, etc. -- dilutes primal power in favor of genial fun.
  97. Pray the Devil Back to Hell
    Gini Reticker's simply made, affecting documentary Pray the Devil Back to Hell reveals how these heroic ordinary women prodded the factions to peace and literally brought down Taylor, a leader of sociopathic cruelty.
  98. The Thin Red Line
    An epic aestheticization of World War II, a movie at once bold and baffling, immediate and abstract.
  99. After Dark, My Sweet
    After Dark, My Sweet is cool and compelling for about 45 minutes, but it has a clinical, hothouse garishness that grows oppressive.
    • 78 Metascore
    • 100 Critic Score
    Spellbound
    The Salvador Dalí-designed dream sequence is still a dazzler, and deciphering it points to the real killer. Analysis the way it oughta be!
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