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 2.2 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. Goodbye Solo
    The result is a playful, elusive movie that isn't so much heartwarming as soul-cleansing.
  2. The Power of the Dog
    Unless you're one of the few who's read Thomas Savage's 1967 book of the same name, on which the script is based, there's rarely a moment that doesn't feel racked with the queasy, thrilling promise of sudden violence or epiphany.
    • 89 Metascore
    • 83 Critic Score
    Sullivan's Travels
    Preston Sturges’ most famous film, Sullivan’s Travels, may not match the sleek perfection of his ”Lady Eve,” but its endlessly fertile and still influential fusion of satire, screwball comedy, drama, and slapstick (most recent homage: the Coen brothers’ ”O Brother, Where Art Thou?”) remains tartly fresh.
  4. Downhill Racer
    One of the great unheralded films of the late ’60s.
  5. Deep Red
    A Freudian honey trap of murder and women straight out of Italian Vogue.
  6. Alien
    Pay attention to the enhanced detail audible in a new six-track sound mix, which may be the most important cleaning job of all; silence and Jerry Goldsmith's score have never twined so hauntingly.
  7. Columbus
    His video essays may have hinted at an artist with a gifted eye, but Columbus is proof that Kogonada also possesses heart and soul as well.
  8. The Artist
    Days after I saw The Artist, I was still thinking (and grinning) about it, because the movie's real romance is the one between us, the jaded 21st-century audience, and the mechanical innocence of old movies, which here becomes new again.
  9. Zama
    The film makes a compelling portrait of how job assignments can eventually become jail sentences, and how years can drift into each other with little care for unfulfilled dreams. As it goes, Zama ponders the unanswerable question of what kind of life, exactly, is worth living.
  10. The Piano
    By the end, Campion views all her characters with a compassion bordering on grace, a humanity-like her heroine's-as dark, quiet, and enveloping as the ocean.
  11. 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.
  12. The Quiet Girl
    With its English subtitles and small-scale epiphanies, Girl is the kind of quiet film that could easily get lost in a noisy season; lean in anyway, and listen.
  13. Letters from Iwo Jima
    Clint Eastwood's profound, magisterial, and gripping companion piece to his ambitious meditation on wartime image and reality, "Flags of Our Fathers."
  14. A Woman Under the Influence
    Rowlands gives a harrowing performance as a housewife coming unhinged.
  15. Anomalisa
    It’s obvious that Kaufman has always seen the world differently from the rest of us. And even if it takes a little time to settle into Anomalisa’s disorienting, herky-jerky groove, Kaufman ends up bewitching us with his fresh take on the oldest and most hackneyed of cinematic themes: boy meets girl…and anxiety ensues.
  16. I'm Going Home
    The result is something as original as it is unlikely: a study in grief that is flooded with happiness.
  17. Diva
    Diva is based on one novel in a series about Gorodish and Alba by the pseudonymous ”Delacorta,” but the movie’s mad excitement hinges entirely on the pleasure to be had in moving our eye from one gorgeously composed stage set of artifice to another.
    • 88 Metascore
    • 83 Critic Score
    Richard III
    Olivier’s spidery Richard — shuttling around with a black pageboy haircut and sleeves dangling to his knees — revels in his eloquence yet remains deliciously wicked.
  19. The Lion King
    Has the resonance to stand not just as a terrific cartoon but as an emotionally pungent movie.
    • 88 Metascore
    • 83 Critic Score
    4 Little Girls
    Surprisingly, given Lee's penchant for experimentation, there's nothing remotely innovative about this sober, often intensely moving exploration of a community's lingering grief and outrage -- just the usual talking heads, stock footage, montages of stills, and such.
    • 88 Metascore
    • 91 Reviewed by
      Ty Burr
    Wild Strawberries
    A film that goes where many others have gone (yes, this is Scrooge for Ph.D.s) but with a subtlety few have dreamed of?
    • 88 Metascore
    • 75 Reviewed by
      Ty Burr
    How Green Was My Valley
    The acting is strong (especially that of 13-year-old Roddy McDowall as the youngest son and Maureen O’Hara as the lovelorn daughter), and Arthur Miller’s Oscar-winning photography gives the images a spooky luster, but a little bit of Ford’s salt-of-the-earth piety goes an awfully long way.
  23. Paddington 2
    A delightfully heartwarming tale about everyone’s favorite marmalade-loving bear.
  24. A Serious Man
    Working with affectionate mockery, the Coens take the cinder-block-synagogue banality of American Jewish life in 1967 and make it look as archly exotic as the loopy Scandinavian-American winterscape of "Fargo."
  25. Capote
    Capote honors its subject by doing just what Truman Capote did. It teases, fascinates, and haunts.
  26. The Death of Stalin
    Despite the rich settings and crowded cast, the film can’t help feeling a little airless too: These players aren’t history’s masterminds, they’re wasps trapped in a jar, bumbling against the glass in sting-or-be-stung chaos.
  27. Tulpan
    If you see only one comic love story from Kazakhstan this year, choose this prize-winning honey.
  28. Three Billboards Outside Ebbing, Missouri
    A tar-black comedy so caustic it nearly burns a hole in the screen, Three Billboards Outside Ebbing, Missouri banks a lot on the gale force of Frances McDormand, and nearly pulls it off.
  29. A Film Unfinished
    Hersonski quietly and insistently unravels reality from "reality"; her commitment to archival authenticity is its own tribute to those no longer able to testify.
  30. The Grand Budapest Hotel
    A marvelous contraption, a wheels-within-wheels thriller that's pure oxygenated movie play.
  31. A Star Is Born
    It’s Cooper, in his directing debut, who ultimately has to carry the film from both sides.
  32. Citizenfour
    For all its brio, the film is overcautious about pointing fingers.
  33. Time Out
    There's piercing sadness, and fury, too, in this Everyman's isolation, and Cantet is singularly skilled at evoking the universal condition of such tragic ordinariness.
  34. Away from Her
    Munro's stark lily needed none of this gilding.
  35. Mafioso [re-release]
    Mafioso does more than cast its fascinating shadow over "The Godfather." It captures, in a stark yet haunting way, the indelible fact that no man is born a mobster.
  36. The Father
    The skillfulness of the telling, paradoxically, can make The Father feel at times almost too painful to sit through; as the story shifts elliptically in and out of time, Anthony's losses become our own.
  37. Leave No Trace
    It’s a slower (at times probably too slow) and more contemplative movie than its predecessor, but it’s no less haunting, thanks to unshakable performances from Ben Foster and Thomasin McKenzie.
  38. Chicken Run
    A delightful, perceptive, funny, detail-perfect fable.
  39. The King's Speech
    Lest the audience miss a cue, Hooper and soundtrack composer Alexandre Desplat count on the ringing grandeur of Beethoven's Seventh Symphony - the famous second movement, no less - to amp the emotions.
  40. Fargo
    Dizzily rich, witty, and satisfying.
  41. Hell or High Water
    Hell or High Water isn’t a flashy movie, but it has an undeniably resonant sense of small-scale justice, not to mention an authentic sense of place that will remind you of other Texas-set masterpieces like John Sayles’ "Lone Star" and the Coen brothers’ "No Country for Old Men." See it, and then spread the word.
  42. Up
    A lovely, thoughtful, and yes, uplifting adventure.
  43. Poor Things
    For all its hilarity, explicit sex — which, for the record, is a) extremely sexy, b) earned, and c) hysterically funny — and foul-mouthed dialogue, Poor Things is a romance about a woman learning to fall in love with herself, no matter what others think she should be.
    • 88 Metascore
    • 91 Critic Score
    Tootsie
    Sometimes a movie’s turmoil isn’t a sign of impending doom so much as one of impending brilliance.
  45. Marooned in Iraq
    Nothing I've read about Iraq or seen on TV in the past few weeks has felt nearly as real and intimate as this commanding fiction.
  46. Everything Is Copy
    Copy celebrates a brilliant storyteller and her lacerating wit...but also recalls a woman who could be bossy, presumptuous, and sometimes mean. To the end, though, she was adored.
  47. Toy Story 2
    It's a great, IQ-flattering entertainment both wonderful and wise.
  48. Black Panther
    [Coogler] infuses nearly every frame with soul and style, and makes the radical case that a comic-book movie can actually have something meaningful — beyond boom or kapow or America — to say. In that context, Panther’s nuanced celebration of pride and identity and personal responsibility doesn’t just feel like a fresh direction for the genre, it’s the movie’s own true superpower.
    • 88 Metascore
    • 100 Critic Score
    The Bridge on the River Kwai
    The Bridge on the River Kwai is that rare film about something as seemingly black-and-white as World War II that is colored entirely in shades of gray, and the better for it.
  50. Brooklyn
    Ronan, who’s made a habit of giving us sparkling turns since she was a kid in 2007’s Atonement, delivers a dazzlingly mature performance.
  51. Nobody Knows
    Yagira's performance is so extraordinary, it won him the best actor prize at the 2004 Cannes film festival.
  52. Life Is Sweet
    Leigh gives you such a strong sense of his characters as fluky individuals that even his most lackadaisical scenes are alive with possibility. What holds Life Is Sweet together is his perception — at once funny and wise — that people, when they change at all, do so in small, nearly imperceptible ways, and that that may be enough.
  53. Apollo 11
    The NASA mission at the heart of the must-see documentary Apollo 11 reminds you what it feels to be truly awestruck.
  54. The Lord of the Rings: The Two Towers
    What it comes down to is superbly staged battle scenes and moral alliances forged in earnest yet purged of the wit and dynamic, bristly ego that define true on-screen personality.
  55. L'Enfant (The Child)
    It makes sense that L'Enfant has been hailed as a masterpiece, since a masterpiece is what it's trying, in every unvarnished frame, to be. If you wandered unknowingly into the film, however, you would see this: a stark, fascinating, and naggingly detached character study.
  56. Poetry
    Facing a diagnosis of Alzheimer's, the older woman enrolls in a poetry class, desperate to find the words to describe beauty before language fails her. She does even better: She herself becomes a kind of poem about what it means to really see the world.
  57. If Beale Street Could Talk
    In some ways Beale feels less like a movie than a well-staged, meticulously shot play; a period piece that floats beyond its specific time and place and into the realm of allegory.
  58. Birdman or (The Unexpected Virtue of Ignorance)
    Birdman is a scalpel-sharp dissection of Hollywood, Broadway, and fame in the 21st century. But more than that, it's a testament to Keaton's enduring charisma and power as an actor. He soars.
  59. Little Women
    A graceful, unsentimental, well-made movie.
  60. Shine
    Shine beams with warmth, sensitivity, and fine taste.
    • Entertainment Weekly
  61. Can You Ever Forgive Me?
    Can You Ever Forgive Me?’s premise is so low-key outrageous, it would almost have to be true. And it is: a shaggy, endearingly dour portrait of the kind of true-life eccentric New York hardly seems to make anymore.
  62. Wolfwalkers
    Wolfwalkers deserves a new level of praise for the way it takes previous Cartoon Saloon themes (such as the porous relationship between man and nature) to new heights of artistry.
    • 87 Metascore
    • 83 Critic Score
    Imitation of Life
    A prime example of a brilliant director’s stealthy use of a denigrated genre to slip in subtle social comment and genuine pathos.
  64. Pain and Glory
    In the scheme of Almodóvar’s rich catalogue, Pain is probably too small, too sad, and too obtuse to really recommend as any kind of starting point. For longtime fans, though, it’s a gift; the kind of quiet glory worth waiting a few decades for.
  65. Russian Ark
    It was only with the advent of digital technology that the notion of an entire film done in a single take became possible. Mike Figgis got there first with ''Time Code,'' and now the Russian director Alexander Sokurov has brought off a comparably startling feat with Russian Ark.
  66. Gomorrah
    Naples-born Servillo is a national star, famed as a theater, opera, and film director as well as an actor. And he's got the face of a mensch (or a Madoff) -- which makes his embodiment of criminal banality all the more identifiable, as well as horrifying.
  67. To Be and to Have
    So superb, so graceful, so strong -- another beauty in this year of good documentaries -- that I do believe it will influence career choices, sending inspired viewers to study pedagogy, or cinematography.
  68. Return to Seoul
    In its colorful, Godardian way, Return to Seoul becomes a quest movie, but not the one you're expecting — it's the opposite of sentimental or overly therapized.
  69. In the Mood for Love
    Although In the Mood for Love isn't in the mood for action, it dazzles with everything but.
  70. Mulholland Dr.
    Rapt and beautiful and absorbing.
  71. Mission: Impossible – Fallout
    It’s the kind of pure, straight-no-chaser pop fun that not only keeps taking your breath away over and over again, it restores your occasionally shaky faith in summer blockbusters.
  72. Grizzly Man
    A mesmerizing work of disturbing power and unease.
  73. Ma Rainey's Black Bottom
    If Davis hadn't already taken home Oscar gold so recently, she'd almost certainly claim another prize here for the raw transformative verve of her performance; it's more than possible she still might. It's Boseman, though, in his final appearance on screen, who makes both the bitter and the sweet of the story sing: a pointed arrow of hurt and hope and untapped fury, heartbreakingly alive in every scene.
  74. One False Move
    Part of what makes One False Move so engrossing is the way the characters keep revealing new, darker sides. The movie is about hidden American links — between city and country, cop and criminal, and the black and white subcultures of the rural South.
    • 87 Metascore
    • 100 Reviewed by
      Ty Burr
    Jaws
    Steven Spielberg overcame the lumpy plotting of Peter Benchley's novel to create an efficient, graceful fright machine in Jaws.
  76. We Are the Best!
    As a coming-of-age story, the film is a bit uneventful. But the girls’ rebellious, fist-in-the-air spirit and the warmth of their friendship are undeniable.
  77. 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.
  78. 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.
  79. Nomadland
    It's hard, too, to picture any actress other than McDormand (who also has a producer credit) in the part. She doesn't just become Fern, she creates her: melding Zhao's screenplay to her own fierce character in a way that feels almost uncannily real. Together, they've managed to make that rare thing: a film that feels both necessary and sublime.
  80. Wallace & Gromit: The Curse of the Were-Rabbit
    Bestows generous blessings on all that's good in Englishness, in moviedom, and, of course, in cheese.
  81. The Diary of a Teenage Girl
    As unsettling as Marielle Heller’s feature-film debut can be — there are moments you’ll ache for Minnie and other ones where you’ll want to lock her away — it rings much truer than most coming-of-age stories.
  82. Lincoln
    The movie is grand and immersive. It plugs us into the final months of Lincoln's presidency with a purity that makes us feel transported as though by time machine.
  83. All Is Lost
    This is Robert Redford doing what too many stars should do and don't: taking a chance. And reinventing his art. It's an extraordinary thing to see.
  84. The Banshees of Inisherin
    To be corny, which the film is decidedly not, it's about life: the brevity of it, the risks we do or don't take, who in the end we choose to share it with. And for all the pettiness, absurdity, and outright threats of violence, it's pretty feckin' wonderful.
    • 87 Metascore
    • 83 Critic Score
    Love & Friendship
    Stillman gives the romantic roundelay a deliciously modern feminist twist that ends up being a bit too slight and patly resolved, but over all too soon.
  86. 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.
  87. Listen to Me Marlon
    A wondrously sly, moving, odd portrait—perfectly befitting its subject.
  88. The Fugitive
    The Fugitive is hardly Hitchcock — it never taps our emotions in a way that threatens to transcend the action — but it’s a mainstream thriller made with conviction, intelligence, and heat. In Hollywood, that used to be called professionalism. These days, it’s rare enough to look like artistry.
  89. The Incredible Journey
    Assuming you love animals — hell, even if you don’t — this is one of the best buddy movies ever made.
  90. The Death of Mr. Lazarescu
    Mr. Lazarescu is that rich and riveting a film of universal small human moments and big-system failure.
    • 87 Metascore
    • 100 Critic Score
    Odd Man Out
    Mason gives a grand performance, his voice racked with desperation and pain yet sonorous.
  92. Maria Full of Grace
    Unfolds with a simplicity that's as breathtaking as its inevitability is harrowing.
  93. Shakespeare in Love
    The richest and most satisfying romantic movie of the year. It's really about two great loves at once -- the love of life and of art -- and the way that Shakespeare, like no writer before him, transformed the one into the other.
  94. Fateless
    In the juxtaposition of cataclysmic matter-of-fact misery and cinematic poetry, the filmmaker finds a calmly stunning way to convey the experience of living with death as something intimate, and, unnervingly, almost natural.
  95. The Fog of War: Eleven Lessons from the Life of Robert S. McNamara
    Errol Morris may have been put on earth to make The Fog of War, a stunning portrait of Robert S. McNamara that closes a year of outstanding nonfiction movies on a high note.
  96. Uncle Boonmee Who Can Recall His Past Lives
    Spirit, animal, and human worlds coexist in dreamy harmony in this remarkable drama.
  97. Brokeback Mountain
    Brokeback Mountain is that rare thing, a big Hollywood weeper with a beautiful ache at its center. It's a modern-age Western that turns into a quietly revolutionary love story.
  98. The Kid with a Bike
    No one charts the wilds of childhood more precisely than the Dardennes.
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