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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    • 73 Metascore
    • 83 Critic Score
    The Incredible Shrinking Man
    The most unpretentious and poignant sci-fi film of them all.
    • 73 Metascore
    • 42 Reviewed by
      Ty Burr
    Cavalcade
    It’s rife with fey, unintentional camp like the scene in which a newlywed couple pledge eternal love on the deck of an ocean liner — only to move away and reveal a life preserver labeled Titanic. Cavalcade really won its Oscar because of Hollywood’s raging Anglophilia — the insecure sense that if a character says, ”Let’s all have a cup of tea!” the movie must be art.
  3. 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.
  4. Gonzo: The Life and Work of Dr. Hunter S. Thompson
    The movie also captures Thompson's tragedy: the haze of drugs and bad writing that consumed him for no less than his last 30 years.
  5. Kiss Kiss Bang Bang
    The deliriously enjoyable noir comedy-thriller Kiss Kiss, Bang Bang does nothing by halves and everything by doubles.
  6. Mr. & Mrs. Bridge
    Mr. & Mrs. Bridge is watchable but also stiff and remote.
  7. The Long Walk Home
    Both actresses are quite fine. The role of Odessa is somewhat underwritten, but Goldberg, playing her as a modest, God-fearing woman, acts with a deep-buried determination. If she’d been allowed to show some of her humor, the character might have soared. Spacek gives a beautifully modulated performance. 
  8. Bowfinger
    Disciplined script -- bitingly funny.
  9. The New World
    Many have tried, but none can match Malick's touch for shuffling a deck of elegiac images (water/sky/clouds/rain) and fanning out the hand to express what speech cannot; he's a master, too, of incorporating sound that is often wordless but never empty.
  10. The 40 Year Old Virgin
    Buoyantly clever and amusing.
  11. A Royal Affair
    The storytelling in A Royal Affair is traditional bordering on square. But the historical drama itself - about how an idealistic German doctor influenced a silly king, romanced a queen, and brought the Age of Enlightenment to 18th-century Denmark - is kind of amazing.
  12. Dark Waters
    These Waters never quite run as strong or as deep as they should.
  13. The Original Kings of Comedy
    The routines are charged, even between jokes, with anticipatory hilarity.
  14. Shattered Glass
    Presents Glass as a masterfully corrupt fabulist who convinced himself of the ultimate seductive lie, which is that there can't be anything wrong with telling people what they want to hear.
  15. Riding Alone for Thousands of Miles
    Ken Takakura, a great rain-creased oak of an actor, delivers a quietly massive performance.
  16. War of the Worlds
    An attack-of-the-aliens disaster film crafted with sinister technological grandeur -- a true popcorn apocalypse.
  17. Love & Basketball
    Lathan, charismatic and beautifully strong, holds the screen in every scene.
  18. Thirst
    A gaudy, daring, operatic, and bloody funny provocation of a melodrama from Park Chan-wook.
  19. Notes on a Scandal
    It's a poison bonbon tastier than just about anything else out there.
  20. The Dig
    In the larger sense of whatever a movie like this promises to be — that you will laugh (in a properly low-key English way) and cry (but not too outrageously), and feel the sudden, urgent need to drink milky tea and own a pair of dungarees — The Dig more than fulfills its destiny.
  21. Clueless
    There are funny bits in Amy Heckerling's high school sat-ire, but the characters are teen-movie zombies with no discernible personality apart from their trendoid obsessions.
  22. The Black Power Mixtape 1967-1975
    A tangy raw stew of history, even if it never begins to confront the contradictions that bedeviled black militancy.
  23. Amreeka
    Amreeka is strategically inviting and carefully mild even when making unsubtle points about Palestinian suffering and American insensitivity.
  24. CODA
    Jones — who trained intensively in voice work and American Sign Language for the role — has the gift of coming off like a genuine teenager, and more particularly a girl torn between her unique obligations to the people she's always loved and known and the bigger dreams she holds for herself.
    • 72 Metascore
    • 83 Critic Score
    Polyester
    Long before Mel Brooks, trash aesthete John Waters was making movies dedicated to the proposition that life stinks.
  26. Fire Island
    Tender teachable moments about racism or depression or midlife ennui ride alongside indie-pop needle drops and broad, breezy punchlines about tea-dance orgies and ketamine.
  27. 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.
  28. Stevie
    Gripping in its intimacy.
  29. A Song for Martin
    The movie, for all its sincerity, becomes clinical and repetitious, though its unsparing vision of the fragility of identity can give you a shudder.
  30. Road to Perdition
    There's much that's simplistically grand, worthy, and fine in Perdition. If I yearn for less measured filmmaking that cries out with more reckless despair, it's because I think hell on earth is a meaner, much more interesting, and far less tidy cinematic place than Mendes trusts his audience to handle.
    • 72 Metascore
    • 83 Critic Score
    The Bishop's Wife
    Grant’s turn is thoroughly convincing because he himself appears to be having a terrific time: He’s expansive, graceful, and seems always on the verge of chuckling with goodwill.
  32. Ammonite
    There's an austerity to the film — long shots of stone and candlelight, clipped dialogue — that can feel rigorous, almost grim. But Lee (God's Own Country) is only building a richer kind of mood, and priming the canvas for his actresses, who reward that faith with remarkable performances.
  33. Climates
    Exquisitely structured, pitiless study of a middle-aged man trapped in a stagnant emotional weather pattern.
  34. Skate Kitchen
    Shot by cinematographer Shabier Kirchner in hazy, endless-summer half-light, Kitchen finds a kind of urban poetry in the swooping parabolas of the skate park and the rumbling scrape of wheels on pavement.
  35. Gone Baby Gone
    Affleck the director shows excellent instincts, not least of which is letting his younger brother, Casey, hold the center as a young guy not as smaht as he thinks he is.
  36. The Insult
    An ethically thorny morality play that thoughtfully transcends borders, cultures, and religious beliefs.
  37. Phil Ochs: There But for Fortune
    At once an unsentimental portrait of the ambitious singer who thought himself bound for glory, and an affecting elegy for a time when song was a form of revolution.
  38. Magic Mike
    The movie is Mike's story, and Channing Tatum proves himself a true movie star. His Mike glides through the world with the ease of a god, and on stage he's electrifying.
    • 72 Metascore
    • 42 Reviewed by
      Ty Burr
    The Adventures of Milo and Otis
    Milo and Otis is an okay babysitter for the very, very young, but for anyone who truly loves animals it seems pretty fishy.
  40. Straight Outta Compton
    Straight Outta Compton is a hugely entertaining film that works best if you don’t look at it too closely and just listen.
  41. Captain Fantastic
    It’s a testament to writer-director Matt Ross, who is probably best known as an actor on shows like Big Love and Silicon Valley, that Captain skirts cliché as well as it does; his indictments of both contemporary emptiness and misguided idealism feel earned, even if it all ties up a little too Sundance-tidy in the end.
    • 72 Metascore
    • 100 Critic Score
    Pumping Iron
    Arnold conquers all comers, your heart, and the world!
    • 72 Metascore
    • 75 Reviewed by
      Ty Burr
    Matilda
    Clearly, a lot of grown-up types are going to despise Matilda: gym teachers, school psychologists, used-car salesmen, critics who like their family fare immobilized by homiletic virtue. But kids will understand.
  44. New York Doll
    This makes for a modestly touching journey, but New York Doll, in its wafer-thin way, is an oxymoron: a hagiographic tribute to a rocker with more passion than talent.
  45. All the Money in the World
    A smart, eminently watchable thriller, taut and stylish, and Plummer is remarkably good in it.
  46. The Cabin in the Woods
    The movie's biggest surprise may be that the story we think we know from modern scary cinema - that horror is a fun, cosmic game, not much else - here turns out to be pretty much the whole enchilada.
  47. Miami Blues
    What really sinks the movie, though, is Alec Baldwin’s strenuously awful performance.
  48. Charlie and the Chocolate Factory
    Those Oompa-Loompas are the beat, and soul, of Burton's finest movie since "Ed Wood": a madhouse kiddie musical with a sweet-and-sour heart.
  49. The Lady in Red
    Lady is a surprisingly powerful gangster flick about a mystery woman whose public-enemy path briefly overlapped with John Dillinger’s in the ’30s. It’s just one of many Bonnie and Clyde knockoffs Corman cranked out at the time, but there’s real artistry alongside the violence and nudity in this one.
  50. Quinceañera
    Tthis isn't just any setup, is it: It's suds being sold as ethno-sensitive reality, a case of coveting thy neighbor's fiesta.
  51. The Trials of Henry Kissinger
    Watching this film, one is left with the inescapable conclusion that Hitchens' obsession with Kissinger is, at bottom, a sophisticated flower child's desire to purge the world of the tooth and claw of human power. The movie isn't, finally, an argument. It's a long angry ''Boo!''
  52. Stone Reader
    It's ''Moskowitz's March,'' really -- and it ends in stirring victory
  53. All or Nothing
    In that rare moment, the movie relaxes its rictus of pain and actually dares to feel good. Moments like these aren't just a negotiation between all and nothing -- they're everything that allows us to care about even those characters who only slouch and shriek ''F -- - orfff!''
  54. Bowling for Columbine
    Even Moore's target ticket-buyers are likely to squirm with concern, unsure of who the real weasels and idiots are in this large, unkempt, rambunctious country of ours.
  55. Brittany Runs A Marathon
    The thing that truly makes the movie, though, is Bell.
  56. Girl with a Pearl Earring
    The actress (Scarlett Johansson) gives a nearly silent performance, yet the interplay on her face of fear, ignorance, curiosity, and sex is intensely dramatic.
  57. JFK
    [Stone's] filmmaking is so supple and alive, his obsession with the visual aspect of history so electrifying, that JFK practically roots itself in your imagination.
  58. Promising Young Woman
    As satire, Woman‘s first two acts are fun but broad: a winky, wildly stylized slice of girl-powered revenge porn. And Mulligan, who’s always given smart, delicately shaded performances in movies like Far from the Madding Crowd and An Education (she was great in 2018’s underseen Wildlife) is an entirely different animal here: furious, damaged, ferociously funny.
  59. Love, Simon
    There’s some real, weird fun in secondary characters like Tony Hale’s desperate-to-be-down principal, Natasha Rothwell’s exasperated drama teacher, and Logan Miller’s Martin, a theater kid so eager to please he practically turns himself inside out.
  60. Hal
    Hal gives us a lot to take in, whether you’re an aficionado or new to Ashby’s work. Scott has done movie fans a real service. She’s finally given an under-sung filmmaking giant his well-deserved close-up at long last.
  61. Exotica
    Like Christina’s dance, the movie is a gorgeous tease, an artful promise of something that never quite arrives.
  62. The Thomas Crown Affair
    A romp of romantic larceny built out of spare parts we've seen in countless other films.
  63. Rejoice and Shout
    The film is a bit too chronological, but its historical reverence is true to gospel's joyful insistence on locating the spiritual in the everyday.
  64. Berlin
    Berlin is far from the lost masterpiece the movie wants it to be.
  65. 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.
  66. God Grew Tired of Us
    God Grew Tired of Us never brings us half as close to its subjects as the far more penetrating "Lost Boys of Sudan" did in 2004.
  67. Aimee & Jaguar
    Färberböck's sensual adaptation is a matter of fact embrace of the unconventional and dangerous during a terrible time.
  68. Kissing Jessica Stein
    All too content to be a comedy of surfaces and stereotypes. And because, for all the novelty of the bisexual romantic angle, there's something about Jessica, her New York-singleton ticks and her Jewish-family tocks, that feels...old.
  69. Seabiscuit
    Trembles with respect for Hillenbrand's book. It's hobbled by good intentions, grand plans for telling many stories at once, and a fear of the very audience whose intelligence and sophistication it claims to court.
  70. Always Shine
    The too-clever conceit sabotages the whole thing.
  71. A Secret
    The filmmaker's decision to shoot the past in color and the present in murky black and white is an inspired visual translation of psychological truth.
  72. 3-Iron
    3-Iron is like a Raymond Carver story that slowly, inexorably takes on the dimensions of a ghostly fairy tale.
  73. Earth
    This super-duper deluxe nature documentary clearly aims to recruit young viewers as conservationists.
  74. Steve Jobs: Man in the Machine
    What the movie actually could’ve used less of is Gibney, whose faux-pensive voice-overs are meant to push the story forward, but more often make your eyeballs roll backward.
  75. Bone Tomahawk
    I doubt there’s a huge audience for a movie like Bone Tomahawk, but those who find it may turn it into a new cult classic.
  76. Let Them All Talk
    There’s a loose, jazzy verve to the production, a sort of sonic and visual razzmatazz that gives the film a fanciful Oceans 11-style gloss. Mostly, though, Talk is just a chance to spend two hours watching Streep & Co. make the most of Deborah Eisenberg’s deliciously salty script, while Soderbergh — who also serves as cinematographer — shoots it all in ruthless, radiant light.
  77. Superman Returns
    The surprise of Superman Returns is that it isn't a funky, ambitious conceptual reimagining, like last summer's "Batman Begins." This really IS your father's Superman; it re-creates - and updates, though just barely - the universe Donner invented.
  78. Men in Black
    The aliens aren't particularly scary or funny, and so the joke of watching Smith and Jones crack wise in their faces wears thin.
  79. 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).
  80. Blindsight
    Lucy Walker's observant film Blindsight is about profound East-West differences in the importance of journey versus destination and comradeship versus competition.
  81. Good Hair
    Rock gives Good Hair a rousing message: Where African-Americans in the '60s adopted a ''natural'' look, they now feel free to coif their heads any way they want. That's cultural power.
  82. Pi
    The movie's freakazoid intensity gets to you, but there's something at once cramped and show-offy in Aronofsky's refusal to even slighty vary its atmosphere of shock-corridor burnout.
  83. Dances with Wolves
    The movie is so busy turning the Sioux characters into photogenic saints that it never quite allows them the complications of human beings.
  84. Tony Manero
    Larrain's (literally) dark, edgy movie is a precise artistic commentary on Augusto Pinochet's miserable regime.
  85. Presumed Innocent
    The convolutions of Turow’s plot remain absorbing, and Presumed Innocent is certainly as watchable as a lot of other courtoom-investigative thrillers. Yet almost everything in the picture feels sterile and posed. Pakula is good at laying out an intricate, almost mathematical series of events (his best film remains All the President’s Men), but he’s not big on atmosphere. The movie could have used some of the bowels-of-the-city grit Sidney Lumet brought to Q & A.
  86. The Outrun
    Without Ronan's towering talent, The Outrun could easily be a trite addiction drama. But Ronan, cast against the backdrop of the sublime, evocative Orkney Island landscapes, elevates the film to a moving tale of overcoming one's demons and learning to savor life as it comes.
  87. Wreck-It Ralph
    There are more videogame cameos and winks than you can shake a Wiimote at - even the Konami Code, the gamer's paternoster, makes an appearance - but the real success of the film is its emotional core and the relationship between the two misfits.
  88. First They Killed My Father
    It’s an artful, quietly affecting piece of filmmaking, more than worth the lessons learned.
  89. ParaNorman
    The story may be thin, but the project, a feat of stop-motion animation, is made with generous care by the same impressive LAIKA studio artists who conjured up the gorgeous "Coraline."
  90. Let It Rain
    Jaoui neatly, gently, firmly slips political commentary into Let It Rain's articulate mayhem.
  91. Luce
    No one gets off easy here, and no one quite gets answers, either; maybe that’s the point.
  92. Sign 'o' the Times
    The cutting and camera work in Sign ‘O’ the Times are too intrusive, and the somewhat discordant songs worked better as a magnificent hodgepodge on the album. Still, this concert movie (which barely made it to theaters) is a feisty, engaging show.
  93. Welcome to Sarajevo
    The power comes from Winterbottom's rigorous sense of storytelling, which manages to show and tell terrible tales without telegraphing emotionalism
  94. Paul Williams Still Alive
    The movie is fascinating, though it smacks its own lips a bit too much at the tackiness of freak '70s stardom.
  95. The Internet's Own Boy: The Story of Aaron Swartz
    Swartz’s ex-girlfriend adds heart when she tearfully recalls first seeing the ”end date” on his Wikipedia page.
  96. Dark Money
    Kimberly Reed’s taut documentary is also damning, clear-eyed, and as gripping as any John Grisham thriller.
  97. Tell Them Who You Are
    Beneath its exploration of fatherly distance, this is really a portrait of why cranks make better artists than earnest nice guys.
  98. Hellboy
    Directed by Guillermo del Toro with a colorfully kinetic visual imagination that seldom lets up.
  99. Sleepless in Seattle
    The movie is so prefab, so plastically aware of being ''corny,'' ''romantic,'' and ''old-fashioned,'' that it feels programmed to make you fall in love with it.
    • 72 Metascore
    • 91 Critic Score
    Violette
    In Martin Provost’s graceful biopic, Emmanuelle Devos plays Leduc as a powder keg of a woman who used her loneliness and insecurity as the explosive fuel for her work.
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