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. Paddington 2
    A delightfully heartwarming tale about everyone’s favorite marmalade-loving bear.
  2. I Am Not Your Negro
    If there’s a flaw with the film (and it’s a minor one), it’s Peck’s impulse to cram it with clips from lily-white Doris Day movies and John Wayne Westerns that are a bit too on the nose.
  3. By Sidney Lumet
    As an introduction to a first-class director who shouldn’t require any introduction at all, By Sidney Lumet is a thoughtful and thought-provoking treat.
  4. Isle of Dogs
    The movie’s darker allegory of persecution and internment isn’t hard to miss, though, and the dogs themselves, with their tactile tufts of fur and Buster Keaton eyes, have an endearing, complicated humanity.
  5. Detroit
    A sincere effort to illuminate a singularly dark chapter in history — and a stark reminder of exactly what gets lost when human beings fail to take care of their own.
  6. Call Me by Your Name
    It’s real life, heartbreaking and sublime.
  7. Mudbound
    I’m not quite sure how Rees (2011’s Pariah) has done it, exactly, but the depth of heartbreak and humanity in this — just her second feature film — is remarkable.
  8. City of Ghosts
    City of Ghosts shows us what journalism can do in the face of evil. Its message is haunting, humane, and ultimately hopeful.
  9. A Fantastic Woman
    It’s heartbreaking, illuminating, and yes, fantastic, just to watch her (Marina) live.
  10. First Man
    It’s very much its own thing – part harrowing and exhilarating space epic on a grand canvas and part intimate character study in miniature. And while both of those elements are stunning, especially when you consider just how early Chazelle is in his career as a director, the character sections are slightly less successful.
  11. Private Life
    It’s about perseverance, compassion, and empathy.
  12. Stronger
    There’s a raw, tangible humanity to nearly every scene that sets the film gratifyingly apart.
  13. Thelma
    Thelma doesn’t play with pig’s blood and jump scares; its dreamlike dread is subtler and stranger, and much harder to shake.
  14. BPM (Beats Per Minute)
    There’s something uniquely, transcendently beautiful in Campillo’s particular vision and the unhurried way he unfurls it.
  15. Good Time
    The wild night eventually turns downright rabid, but ­Pattinson anchors Good Time, completely selling Connie from the moment he bursts into the frame and delivering the best performance of his career.
  16. Midnight Cowboy
    Even as a kid, I could see that Midnight Cowboy’s true subject isn’t decadence but loneliness...Midnight Cowboy’s peep-show vision of Manhattan lowlife may no longer be shocking, but what is shocking, in 1994, is to see a major studio film linger this lovingly on characters who have nothing to offer the audience but their own lost souls.
  17. Blow Out
    Deliciously twisty and twisted.
  18. City Slickers
    Crystal’s ordinariness — his utter lack of glamour — really works for him here. He’s far more pleasureful to watch in this sort of dramatic-comedy role than, say, Robin Williams, because his comfy, urban-shlemiel personality helps ground the jokes.
  19. Rosemary's Baby
    Using New York’s famed apartment house the Dakota for all its cavernous shadowiness, and exploiting the 23-year-old Farrow’s tremulous space-child vulnerability to underscore her terror and solitude, Polanski worked with an elegant restraint that less talented filmmakers have been trying to mimic ever since.
  20. Spartacus
    The one scene with a hint of the eccentrically detached brilliance that would come to define ”Stanley Kubrick Movies” is the climactic battle, in which marching blocks of Roman soldiers are mowed down by fire: It’s war as the greatest halftime show ever choregraphed. Until then, Spartacus envelops you in the sort of bedazzled hero worship Hollywood never quite managed to bring off this rousingly again.
  21. Molly's Game
    Molly’s Game is a cool, crackling, confident film that appeals to your intelligence instead of insulting it. At the movies, it may be the closest we’ll get to a Christmas miracle.
  22. The Nile Hilton Incident
    The whole thing feels a bit like an Arabic riff on "Chinatown" or "L.A. Confidential" — a neonoir with a tawdry edge where our imperfect hero will eventually be doomed. It’s not a question of if, only when he will lose.
  23. Annihilation
    It’s the kind of film that leaves you dazzled and a little shell-shocked — and not entirely sure whether your own moviegoing DNA hasn’t been altered a little in the process.
  24. 78/52: Hitchcock’s Shower Scene
    In 1960 this was a shocking, sexually charged symphony of taboo-smashing terror. And thanks to the artistry of Alfred Hitchcock, it remains one today.
  25. Lady Bird
    Gerwig doesn’t trap her protagonist in the oblivious underage bubble that most coming-of-age dramedies inhabit; Lady Bird’s parents, played by Tracy Letts and Laurie Metcalf, are fully formed humans with their own deep flaws and vulnerabilities.
  26. Everybody Knows
    If there’s one nit to pick with Everybody Knows, it’s that Farhadi’s films, as excellent as they are, are starting to feel a bit same-y. He’s plying the same family-in-crisis formula he’s worked before. That formula still works like gangbusters, but it’s becoming a formula nonetheless: Happiness and community curdle into paranoia and suspicion.
  27. Hercules
    Hercules, like Aladdin, zips Disney’s house animation style past sentimentality and into an age of ironic media-wise overload. That’s not a bad place for it to be.
  28. I, Tonya
    The skating scenes, too, are thrilling, but Robbie is the real revelation. In a performance that goes far beyond bad perms and tabloid punchlines, she’s a powerhouse: a scrappy, defiant subversion of the American dream. You won’t just find yourself rooting for this crazy kid; you might even fall a little bit in love.
  29. Lean on Pete
    Pete is no kind of fairytale; instead, it’s something far sadder and better and more real.
  30. John Wick: Chapter 3 - Parabellum
    I don’t mean to give the impression that John Wick 3 is anything grander than a gorgeously choreographed, gratuitously violent action movie. But as gorgeously choreographed, gratuitously violent action movies go, it’s high art.
  31. Mary Queen of Scots
    What keeps the film from feeling like period-piece amber, all whispered alliances and wiggery, is the keenly feminist sensibility of first-time director Josie Rourke (her background is largely in theater) and the fierce charisma and complicated humanity of its two leads, sovereigns till the end.
  32. Blockers
    Sure, showing that girls can be as horny and impulsive and raunchy as guys isn’t exactly the most radical statement. But when it’s done this well, it certainly is a welcome change-up.
  33. Nobody's Fool
    Nobody’s Fool shines with intelligence and grace and the natural light of fine moviemaking. Like a shot of superior whiskey, it’s a sharp comfort in the grayness of winter
  34. Once Upon a Time ... in Hollywood
    It’s shaggy and self-indulgent and almost scandalously long; and in nearly every moment, pretty glorious. Once also has the good luck of being anchored by what might be two of the last true movie stars: Leonardo DiCaprio as Rick Dalton, a boozy, anxious actor staring down the bell curve of a never-quite-stellar career, and Brad Pitt as Cliff Booth, his taciturn stuntman turned trusty sidekick and consigliere.
    • 59 Metascore
    • 91 Reviewed by
      Ty Burr
    Mr. Holland's Opus
    The film captures how the constant turnover of students keeps educators poised between loss and rebirth, fuddy-duddyism and eternal kiddishness. That balance is there, most pleasurably, in Dreyfuss’ performance. The wonders of makeup and hairpieces have taken 20 years off his age, and his acting feels 20 years younger, too. He has an edgy vigor here that recalls his ebullient star turns of the late ’70s.
  36. Living in Oblivion
    Living in Oblivion celebrates the very act of filmmaking as grand folly, a triumph of absurdist heroism.
  37. Minding the Gap
    It’s heartbreaking, raw, and true. But it never veers into exploitation or becomes oppressively maudlin.
  38. Damsel
    Far from a perfect film — the morals are clunky, the pacing awkward at points — Damsel still manages to achieve the rare distinction of being both ambitious and just so much goddam fun.
  39. Hereditary
    Hereditary doesn’t reinvent horror cinema so much as polish the cobwebs off of its classics, strip them for parts, and refashion them into something that feels terrifyingly fresh and new.
  40. Sorry to Bother You
    Exploding with infectious originality, Boots Riley’s Sorry to Bother You may be the most wonderfully bizarre film of 2018.
  41. RBG
    RBG is an unapologetic valentine to Supreme Court Justice Ruth Bader Ginsburg, but a sharp and spiky one too.
  42. The Guilty
    The Guilty is an absolute workout that pulls the rug out from under you just when you think you have it figured out. The last ten minutes will keep you rattled long after you’ve left the theater.
  43. Mandy
    It’s a fully immersive experience that begs to be anchored by someone who’s lit from within by blinding neon, but who also, amidst all of the nutty squalls of genre scuzz can still wear his broken heart on his sleeve. And, these days, that list is a short one. In fact, there’s really only one name on it. Thankfully, Cosmatos found him.
  44. Pope Francis - A Man of His Word
    Whether he’s washing the feet of prisoners in America, visiting sick children in Africa, or praying with hurricane victims in Asia, Pope Francis doesn’t merely preach empathy, responsibility, and accountability, he lives it.
  45. The Seagull
    The Seagull is lush and dreamlike, leaving the drawing room for lake, field, and forest. Though we lose some of Chekhov’s claustrophobic talkiness, the dense poetry of his language, Mayer fully captures Chekhov’s sharp humor.
  46. Whitney
    Whitney feels like the kind of film anyone who cared at all about her should see: the fullest portrait yet — if one that will always, inevitably fall short — of a singular artist and human being who may have eluded understanding in the end, but still gave the world far more than she ever got back.
  47. The Monster Squad
    Fred Dekker’s 1987 horror comedy is, like totally, the ultimate ’80s movie. An agreeably goofy, Little Rascals-meets-The Goonies time passer, the movie is proudly anti-CGI.
  48. The Brady Bunch Movie
    The makers of The Brady Bunch Movie have too much affection for the show simply to skewer it with satire. What they’ve done is closer to alchemy: turned this cheese into comic gold.
  49. Shoplifters
    Kore-eda is working up to something else, steering the story he’s built so carefully toward an utterly unexpected detour. As much of what we think we know unravels, the film becomes not just an enjoyable, intermittently poignant portrait of imperfect people but a profound meditation on the meaning of family.
  50. Enter the Dragon
    A sequestered island, a slinky score, a villain with a secret scheme and a deadly prosthesis — it’d be good, cheesy fun even without the centerpiece fight sequences.
  51. In the Heights
    For all its rich tapestry and radiant ingenues, it's that casual centering of so many marginalized voices that makes the movie feel, in its own way, revolutionary: a Technicolor marvel as heady as Old Hollywood, and as modern as this moment.
  52. The Hate U Give
    If Tillman ties it all together a little neatly, he’s already served up a message that feels too fresh and important to dismiss — not of hate but of hope, and faith that even if sharing these stories can’t magically fix what’s broken, telling them still matters.
  53. Dark Money
    Kimberly Reed’s taut documentary is also damning, clear-eyed, and as gripping as any John Grisham thriller.
  54. 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.
  55. Mid90s
    He (Hill) makes Mid90s resonate with universal poignancy and electric energy; his kids are the best, messiest kind of real, and they’re alright.
  56. Free Solo
    In the end, the answer may be only slightly deeper than “because it’s there”, but for 100 nerve-racking minutes, Free Solo brings us one man’s suicidal quest with sympathy, grace, and a ton of adrenalin.
  57. Dragged Across Concrete
    It’s a cliché to say that they don’t make movies like this anymore — nasty, nihilistic, nicotine-stained ‘70s death trips. But thank goodness that Zahler’s doing everything in his power to prove that cliché wrong.
  58. Gloria Bell
    Moore — vulnerable but undauntable — lives every moment in her skin, fantastic to the last glorious frame.
  59. The Great Buster: A Celebration
    In The Great Buster, Bogdanovich has provided a brilliantly enthralling primer.
  60. Godzilla, King of the Monsters!
    Godzilla is still the most awesome of tacky movie monsters — a Jurassic knockoff of King Kong whose ritual stomping of Tokyo never quite lets you forget that you’re watching a man in a lizard suit trash a very elaborate toy train set.
  61. 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.
  62. Paddleton
    Thanks to two pitch-perfect performances, Paddleton is bittersweet and poignant beyond words.
  63. Midsommar
    Like the fretful violins that stagger raggedly over the soundtrack, the skin-pricking pleasures of Midsommar aren’t rational, they’re instinctive: a thrilling, seasick freefall into the light.
  64. Brittany Runs A Marathon
    The thing that truly makes the movie, though, is Bell.
  65. Knock Down the House
    Officially, Knock follows four progressive female candidates, though the one who inevitably dominates is Alexandria Ocasio-Cortez, the Bronx-bred waitress–turned–congressional unicorn. It’s a lot of fun to ride along on her wildly improbable rise, from slinging margaritas and scooping out ice buckets to taking down one of the most powerful Democrats in the House.
  66. 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.
    • 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.
  68. Yes, God, Yes
    The subject matter brings to mind another great teen indie, 2004's brilliant "Saved!," but Yes, God, Yes doesn't skewer "moral" sex ed with the same satirical bite as that much more heightened take on the subject (a highly satisfying needle drop in the closing moments, however, could be interpreted as a quiet nod to the earlier film).
  69. Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese
    The Rolling Thunder Revue was Dylan’s personal magical mystery tour — and in Scorsese’s hands, there’s no shortage of magic or mystery.
  70. Parasite
    A serrating, brilliantly stylized portrait of class and fate and family in modern-day Korea.
  71. Portrait of a Lady on Fire
    There’s almost no single moment in Portrait of a Lady on Fire that couldn’t be captured, mounted, and hung on a wall as high art. That’s how visually ravishing it is to experience writer-director Céline Sciamma’s arthouse swoon of movie — winner of both the Queer Palm and Best Screenplay at this year’s Cannes Film Festival.
  72. Anatomy of a Murder
    It’s a daring, cynical gem.
  73. Soul
    Like the best moments in Up or Wall-E or Inside Out, the alchemy of Soul's final scenes find Pixar at its most stirring and enduring, a marshmallow puff of surreal whimsy that somehow lightly touches the profound.
  74. Uncut Gems
    A vibrantly madcap dark comedy.
  75. Walkabout
    Nicolas Roeg’s art-house adventure is lyrical and intoxicating.
  76. Marriage Story
    Though it may not be an easy movie to watch, or even a particularly original one — there’s still Kramer vs. Kramer, after all — Marriage still feels like something special on the screen: a movie that somehow makes its intimacy seem like a radical act, one messy, heart-wrecking moment at a time.
  77. Jojo Rabbit
    Waititi ... finds such strange, sweet humor in his storytelling that the movie somehow maintains its ballast, even when the tone inevitably (and it feels, necessarily) shifts.
  78. 1917
    The film belongs to Chapman and more than anyone, MacKay, a 27-year-old Londoner with the long bones and baleful eyes of a porcelain saint or a lost Caulkin brother. His Lance Corporal Schofield isn’t just a surrogate Everyman; he’s hope and fear personified, and you couldn’t look away if you wanted to.
  79. Alligator
    Clever, funny, and wonderfully bloody.
    • 69 Metascore
    • 91 Reviewed by
      Ty Burr
    Eating Raoul
    Paul and Mary Bland stop at nothing to open a restaurant in Paul Bartel’s scabrous black comedy.
    • 48 Metascore
    • 91 Critic Score
    Tales from the Crypt: Demon Knight
    With impressive heroics, creepy villains, and the best popping eyeballs since Evil Dead II, the movie is relentlessly moral, cartoonishly violent, and consistently fun.
    • 82 Metascore
    • 91 Critic Score
    Black Sabbath
    Three tales of expertly building suspense. [10 Jul 2013, Issue#1268]
    • Entertainment Weekly
  83. First Cow
    A bittersweet comic absurdity, told in the rhythms of real life.
    • 72 Metascore
    • 91 Critic Score
    Polyester
    Polyester is a liberatingly crude satire of suburban mores.
  85. The Cave
    It delivers something more and better, too: a moving, beautifully humanistic story whose inevitable hardships are laced with real hope and levity.
  86. Sound of Metal
    There's an intimately lived-in quality to the film that feels almost documentary.
    • 85 Metascore
    • 91 Critic Score
    Victim
    While some may be put off by talk of ”abnormalities,” the inner struggle depicted so poignantly in Victim has not dated at all.
    • 67 Metascore
    • 91 Critic Score
    The Time Machine
    The meat of Wells’ novel is sacrificed in favor of all-out spectacle, but in that respect the movie works marvelously.
    • 56 Metascore
    • 91 Critic Score
    How the West Was Won
    Despite wooden performances, the final feature filmed in true Cinerama is great fun and holds a wiiiiiide spot in cineasts’ hearts.
    • 50 Metascore
    • 91 Reviewed by
      Ty Burr
    Honey, I Blew Up the Kid
    Honey has enough charm, good humor, and wry gut laughs to smooth over the dull patches and flaws in logic.
    • 84 Metascore
    • 91 Critic Score
    Cat on a Hot Tin Roof
    The manipulative Maggie, irritated by the heat and by Gooper and Sister Woman’s ”no-neck monsters,” is among Taylor’s most accomplished creations and earned her a second Oscar nod; the performance has an inner coil in it, as if something were ready to spring at any second.
    • 45 Metascore
    • 91 Reviewed by
      Ty Burr
    The Good Son
    The Good Son delivers its knuckle-gnawing set pieces with a skill that makes other thrillers look logy.
    • 67 Metascore
    • 91 Critic Score
    Reflections in a Golden Eye
    John Huston’s adaptation of Carson McCullers’ gothic novella of sexual repression, set in a Southern Army post, gave Taylor one of her most unusual roles. It’s a restrained, sensual performance with moments of high, if warped, comedy: an example of what a director with an original vision could elicit from her.
    • 68 Metascore
    • 91 Critic Score
    A Boy and His Dog
    Jones directed and scripted this mordant sci-fi comedy from a novella by Harlan Ellison; the satire gets a trifle woozy in the picture’s last third, but the film is redeemed by one of the great bad-taste endings of recent cinema.
  95. Miss Americana
    You wish you’d seen more of this Taylor a long time ago. But that’s the point of the whole movie, maybe: She was always there; it just took her 30 years to get to here.
  96. West Side Story
    It feels like a rare achievement to even attempt to scale the unscalable and still, after more than half a century, be able to make it sing.
  97. Dick Johnson Is Dead
    Like a sturdier Mr. Rogers who just happens to prefer red anoraks to cardigans, Dick comes off as both a kind of holy sage and an extremely good sport — a man whose gentle, pure-hearted exuberance swells to fill nearly every frame.
  98. 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.
  99. On the Record
    If the subject ultimately proves to be more slippery and diffuse than in the duo’s previous films (The Invisible War addressed sexual assault in the military, The Hunting Ground, campus rape), it also never feels like less than required viewing: brutal, heartbreaking, and — with or without Oprah’s co-sign — utterly necessary.
    • 86 Metascore
    • 91 Critic Score
    Crip Camp: A Disability Revolution
    Camp, like last year's "American Factory," is a Netflix project with the not-inconsiderable heft of executive producers Barack and Michelle Obama behind it, which will undoubtedly earn it some extra attention. That's great if it helps the film, though it's clear who the real heroes are here: a group of kids that society consistently marginalized, mistreated, and ignored, until they fought their own way off of the sidelines and into the world.
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