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. The Time That Remains
    At best, his poker-faced vignettes nail the icy comedy of war: A man chats on his cell phone, unworried about a tank targeting him a few feet away. At worst, they're totally opaque and unmoving.
  2. Mean Creek
    Although the talent of a kid with the last name of Culkin may not, at this point, register as such a novelty -- Rory follows brothers Macaulay and Kieran -- there is something precociously mature but natural about the work of this youngest Culkin sibling that stands apart.
  3. Bully
    As long as the MPAA is issuing its cavalier decrees, though, they're the ones acting like bullies.
  4. The Half of It
    If The Half of It lacks the pizzazz and energy of similar Netflix fare, and doesn't have much to say beyond its initial setup, it at least takes a stab at doing something different.
  5. Mongol: The Rise of Genghis Khan
    Quite grand, quite exotic, David Lean-style epic.
  6. Kundun
    At once spectacular and inert -- a mosaic impersonating a movie; an empty-shell epic.
  7. Winnie the Pooh
    In execution, it is charming...and also a little monotonous.
  8. Armageddon Time
    A nuanced exploration of situational ethics tinged with guilt, it's a small, near-perfect New York story.
  9. Munich
    Munich, Steven Spielberg's spectacularly gripping and unsettling new movie, is a grave and haunted film, yet its power lies in its willingness to be a work of brutal excitement.
  10. Thelma
    Thelma doesn’t play with pig’s blood and jump scares; its dreamlike dread is subtler and stranger, and much harder to shake.
  11. Take My Eyes
    If Take My Eyes explored how a woman could still feel for a man who abused her, it might have gripped us with its difficult truths. But the movie presents Pilar and Antonio's marriage as a stale, neurotic dead end.
    • 74 Metascore
    • 67 Critic Score
    Little Sister
    Timlin and Paulson create a believable rapport as the central siblings, though it’s Sheedy’s chemistry with the camera (and her character) that creates the film’s most dramatically satisfying moments.
  13. Millions
    This sincere, delicate, and intrinsically religious comedy may also become that most unexpected of blessings - Danny Boyle's first family classic.
  14. Disobedience
    If the film itself feels like a little less than the sum of its provocative premise, it’s still moving in its own unshowy way: a quietly profound exploration of identity, sacrifice, and the connection all human beings long for, whether or not their God or their family or their community approves.
  15. Judy Berlin
    Haunting and hopeful.
  16. East Is East
    A movie in which the easy socio-racial paradoxes have been diagrammed with more care than the relationships
  17. The Legend of Drunken Master
    May be the most kick ass demonstration yet, for the majority of American moviegoers, of what the fuss is all about.
  18. Dangerous Liaisons
    Pfeiffer reveals an emotional nakedness that's almost shocking. Never has she exposed so much and done it so simply. Who knew she could be this good?
  19. In the Line of Fire
    With all of that going for it, it's hard to see how In the Line of Fire could be anything less than rock-solid entertainment-and, indeed, it is. Yet it's never more than that.
  20. Love, Gilda
    Love, Gilda is penetrating, painful, and personal.
  21. Hidden Figures
    Charged with streamlining Figures’ knotty real-life histories, director Theodore Melfi (St. Vincent) tends to paint too much in the broad, amiable strokes of a triumph-of-the-week TV movie. But even his earthbound execution can’t dim the sheer magnetic pull of an extraordinary story.
  22. Sylvie's Love
    Love’s most radical act may be the simple fact of its Blackness — that the faces at the center of the screen are ones that for so many decades we’d mostly see only in the margins of a movie like this, or not at all.
    • 74 Metascore
    • 83 Critic Score
    The Panic in Needle Park
    Compelling, unflattering performances by its stars rivet this grim romance between a cocky New York grifter (Al Pacino) and the mild-mannered Midwesterner (Kitty Winn) he corrupts.
  24. Gods and Monsters
    Achieves its exquisite tension--deepening beautifully from a "Death in Venice" setup to an imaginative meditation, on art and life, of uncommon sensitivity.
  25. Higher Ground
    Higher Ground breaks crucial, sacred ground in American moviemaking.
    • 74 Metascore
    • 50 Critic Score
    Golden Door
    A sluggish procedural on what it was like to make the journey to Ellis Island back in the day.
    • 74 Metascore
    • 75 Critic Score
    Suspicion
    A few bravura sequences aside, it’s fairly flat.
  28. Stonewall Uprising
    Stonewall Uprising does an evocative job of coloring in the oppression of gay life before Stonewall, so that when the eruption happens, we feel its necessity in our bones.
  29. The Town
    A rich, dark, pulpy mess of entanglements that fulfills all the requirements of the genre, and is told with an ease and gusto that make the pulp tasty.
  30. Plimpton! Starring George Plimpton as Himself
    A remarkable doc about a life well lived.
  31. In Darkness
    The fine Polish director Agnieszka Holland (Europa Europa) pays her respects with a daringly murky-looking movie that demands viewers enter the void too and meet Socha and his Jews as real, flawed men and women behaving in flawed ways under suffocating conditions.
  32. Cyrus
    Cyrus cues us to expect it to go over the top, but the film never does. That may be its neatest trick
  33. In the Realms of the Unreal
    A singular and haunting experience.
  34. Flame and Citron
    Director Ole Christian Madsen combines sharp scenes of moral inquiry with a few too many functional, oldfangled espionage twists.
  35. Sully
    The reason why the movie works at all is Hanks.
  36. Go
    The one truly thrilling movie I've seen so far this year.
  37. Into the Abyss
    The film has the same moral design as "Dead Man Walking," but since it never gets inside the darkness of the killers' minds, it's really just a rambling episode of "A Current Affair."
  38. Interstellar
    Interstellar, his (Nolan) sci-fi spectaculorama helixed around a father-daughter love story, is a gamble like no other in his career. It's his longest film, his headiest, his most personal. And, in its square-peg-in-a-round-wormhole stab at being the weepy motion-picture event of the year, it's also his sappiest.
    • 74 Metascore
    • 58 Critic Score
    Bridge to Terabithia
    The movie -- which never decides if it's a fantasy or coming-of-age story -- spends a lot of time away from Terabithia; that also leaches out the wonder. The boy seems more excited that Zooey Deschanel is his hottie music teacher than he is to see tree men in the forest.
  40. The Heart of the Game
    The film is a furious full-court press, its subjects aflame with the kind of passion only youth can furnish.
  41. Daughters of Darkness
    Loaded with atmosphere, bared flesh, and a haunting turn by the Dietrich-esque Delphine Seyrig as an ageless countess who hungers for a pair of newlyweds (and their necks).
  42. The Dish
    It's a lovely, original, Australian take on a climactic moment usually thought of as all American.
  43. The Hurricane
    Washington immerses himself, even more than he did in "Malcolm X," in a stare of unforgiving outrage.
  44. Billy Elliot
    Even as the director, Stephen Daldry, places his star front and center, he doesn't know how to highlight him.
  45. 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.
  46. Kung Fu Panda
    Light and goofy, yet the fight scenes, which are the heart of the film, are lickety-split mad fun.
  47. Crazy Rich Asians
    If the storyline is strictly something old and borrowed, though, a peek at the crazy-rich rainbow of Asian experience — even one as razzle-dazzlingly too-much as this one — feels not just new, but way overdue.
  48. The Secret Garden
    The movie is earnest, heartfelt, and, for all its lavishness, rather plodding.
  49. The History Boys
    The History Boys is as much about the meaning and value of reading and learning as it is about the ho-humness of genital fondling by sir with love.
  50. 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.
    • 74 Metascore
    • 83 Critic Score
    Calamity Jane
    [Day] is dizzyingly kinetic (and funny) as Calamity Jane‘s tomboy cowgirl.
  52. A Mighty Heart
    Despite the best of intentions, an actress who makes her own headlines gets in the way of the big picture.
  53. Breakdown
    Breakdown feels at first so casual, so comfortable with its own small expectations (a good but unglamorous cast, a sturdy but unspectacular plot), that the authentic feelings of suspense are a surprise.
    • 74 Metascore
    • 83 Critic Score
    The Body Snatcher
    The movie has those unmistakable, shiver-inducing touches Lewton (Cat People) is famous for: a loyal little dog refusing to leave the site of its master’s fresh grave, a blind singer’s song suddenly and shockingly stopping offscreen, and the surprise of that final coach ride.
    • 74 Metascore
    • 100 Critic Score
    Them!
    The movie’s then-state-of-the-art mechanical beasties aren’t entirely convincing, but this archetypal ’50s monsters-on-the-loose flick can still tingle your carapace, thanks to taut direction, an intelligent script, a believable cast, and a nail-bitingly effective climax in the sewers of Los Angeles.
  56. Invictus
    How is Invictus as a sports movie? Let's just say that its lump-in-the-throat climax is predictable, but that doesn't mean it's less than earned.
  57. Big Hero 6
    At times, Big Hero 6 gets a little too noisy for its own good, but that never manages to drown out its many quieter charms.
    • 74 Metascore
    • 100 Critic Score
    Edward Scissorhands
    Simple, funny, gorgeous, sad, and sweet, perfect for playing over and over.
  59. The Italian
    The result is a picture half sweet, half bitter. Charles Dickens would approve.
  60. Mommy
    It taps into every parent's worst nightmare — the horror of being unable to protect an out-of-control child.
  61. The Duchess of Langeais
    A highbrow chick flick that made me feel older, in a good way.
  62. Starlet
    Sean Baker's singular little ultra-indie is a strikingly unsentimental study in female friendship between unmoored souls in L.A.'s bleached, glamour-challenged San Fernando Valley.
  63. My Kid Could Paint That
    Amir Bar-Lev's engrossing film is as much about the stubborn ambiguities of art, truth, meaning, and relationships as it is about the authenticity of the Olmstead oeuvre.
  64. Two Lovers
    James Gray's Two Lovers really is a '70s movie, in the mode of such raw, unfiltered character studies as "The Panic in Needle Park," "Wanda," and "Fat City."
  65. Wag the Dog
    If the result is often as glib as the targets it's satirizing, it's also driven by a cruelly distilled joy. Wag the Dog is an ode to the thrill of deception, a thrill embodied in Hoffman's inspired performance.
  66. Sin City
    Glued tightly from page to screen, Sin City is so seduced by the visual possibilities of sin that style becomes its own vice.
    • 74 Metascore
    • 91 Critic Score
    tick, tick...Boom!
    Tick, Tick… Boom! is a totem for the thrills and trials of making art, with all the sacrifices and empathy it requires.
  68. My Country, My Country
    Though the events have a rambling overfamiliarity, there's a real story between the lines: the resentment over the U.S. occupation on the part of non-insurgent Iraqis.
  69. 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.
  70. Metallica: Some Kind of Monster
    One of the most revelatory rock portraits ever made.
  71. Shower
    Without ever dipping into indignity among wet, half-naked men, Shower sparkles with joy.
  72. Source Code
    Among all the chess-piece players on the board, the star is the only one who really builds a solid emotional foundation for his character.
  73. Beast
    Pearce takes his time laying out his sleeping-with-the-enemy tale, but his stinginess with plot lends the film an vice-tightening air of mystery that suits it.
  74. Joe
    Both Cage and Sheridan (who shined opposite Matthew McConaughey in Mud) give true and at times tender performances. It's a shame the film lacks the same subtlety and force.
  75. After Parkland
    What feels important in Parkland is less about pushing any kind of political agenda or viewpoint than about simply listening, and bearing witness.
    • 74 Metascore
    • 100 Critic Score
    The Naked City
    Nearly 50 years later, The Naked City‘s Oscar-winning cinematography and editing still have resonance.
  77. Thor: Ragnarok
    Ragnarok is basically a Joke Delivery System — and on that score, it works. The movie is fun.
  78. Teacher's Pet
    The somewhat rococo songs and earthy pop-art animation tread a very fine line between heady and headachy.
  79. Bird
    Like the butterflies and pockets of natural beauty that Bailey is drawn to, there are glimmers of potential in Bird. But it never fully manages to take flight, leaving its provocative conclusion more jarring and confusing than revelatory.
  80. Splendor in the Grass
    With his ripe lips, flirty eyes, and pre-Calvin Klein-era androgynous appeal, the 24-year-old Warren is utterly believable as a boy who drives Natalie Wood plumb insane with sexual frustration in William Inge’s overheated melodrama.
  81. Queen & Slim
    Violent and sexy, balanced between hope and despair, definably too-much and unapologetically mythic. The road is bumpy, but what a trip.
  82. Breach
    Now Ray has directed his second film, the abysmally titled Breach, and it's a bona fide companion piece, another true-life tale of duplicity gone secretly insane.
  83. Japanese Story
    This is an origami story, really, about what a construction of chance the big world is.
    • 73 Metascore
    • 100 Critic Score
    Cape Fear
    A hypnotically engrossing thriller that spins along on the dreams and anxieties of its characters.
  85. 28 Days Later...
    A swankily austere piece of jeepers-creepers sci-fi.
  86. South Park: Bigger Longer & Uncut
    Turns out to be the funniest, most risk-taking, most incisive movie of the summer.
  87. Novitiate
    First-time director Maggie Betts has said she based her story in part on extended research into the aftershocks of Vatican II’s new liberties — in its wake, devoted members left the Church in droves — and on personal biographies of the women who experienced it firsthand.
  88. On the Rocks
    The story itself, with its gorgeous interiors and jazzy Chet Baker soundtrack, turns out to be a bit of a wisp, a dandelion puff tossed to the gods of romance and prime Manhattan real estate. But if the emotional stakes never really seem all that crucial (love wins, in the end), Murray brings his own cosmic weight.
  89. Malcolm X
    With Malcolm X, Lee has created a galvanizing political tragedy, the story of a leader who, through his very perception and daring, recognized that death — and only death — would be his final evolution.
  90. Into the Wild
    The beauty of Into the Wild, which Penn has written and directed with magnificent precision and imaginative grace, is that what Christopher is running from is never as important as what he's running TO.
    • 73 Metascore
    • 67 Critic Score
    Miss Juneteenth
    Beharie remains a powerful performer, able to convey multitudes with subtlety, even if Miss Juneteenth never makes a move you didn’t see coming a mile down that country road.
  92. The Party
    It’s basically a Murderer’s Row of indie pros who play off one another like they’ve been performing this particular toxic soiree on a West End stage for years.
  93. A Scanner Darkly
    In A Scanner Darkly, we're watching other people freak out, but the film is maddening to sit through because their freak-outs never become ours.
  94. The House of the Devil
    There's wit but never a wink in this smartly shot production, which pays homage to the 1980s without fetishizing the era.
  95. The Dinner Game
    Veteran French farceur Francis Veber proves that feature-length idiot humor is not limited to the Farrelly brothers.
  96. Red Cliff
    The spectacular battle scenes are the engorged heart of the delirious adventure. But Woo also gets maximum romantic value from Tony Leung as a war hero married to Chiling Lin as the tea-pouring beauty.
  97. The Limey
    A small cubist masterpiece about crime and punishment set in that most split-level of environments, Los Angeles.
  98. Rust and Bone
    Cotillard, with stringy long hair and a coal fire of severity in her eyes, has what it takes to play a woman who feels that she's lost everything. But she's forced to flail and mood-swing from scene to scene. In an insult to the disabled, there is never much to her but her hellacious injury.
  99. Inland Empire
    Inland Empire is so locked up in David Lynch's brain that it never burrows its way into ours.
  100. Eye in the Sky
    Aaron Paul has key scenes as the drone pilot who actually has to pull the trigger, but it’s the late Alan Rickman, as Mirren’s superior, who steals the film.
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