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. Theeb
    The narrative sparseness of Theeb does not also apply to its cinematic virtues, which offer plenty for audiences to chew on, whether they’re looking for a non-traditional western adventure or trying to win their office Oscar pool.
  2. A Bigger Splash
    This reworking of the 1969 erotic thriller "La Piscine" beautifully explores the difficulties of communication. Aging rock star Marianne Lane (Tilda Swinton), muted by vocal surgery, is dealing with Harry (Ralph Fiennes), a former flame.
  3. Florence Foster Jenkins
    It would be easy to mine Jenkins’ story for silly farce and 1940s set pieces and let it coast from there, but director Stephen Frears (Philomena, The Queen) is too kind, and too nuanced, to do that. Even when she’s murdering a high C, his Florence finds the melody.
  4. Sunset Song
    The film takes a false turn in its final act, but there is a certain melancholy enchantment in Davies’ golden-hued countryside. When a crowd sings “Auld Lang Syne” at a wedding reception, he makes you feel the tender warmth of a hearth fire alighted in the world.
  5. Incredibles 2
    Bird’s made the weirdest Pixar movie ever, revolutionary and retro, an anti-authoritarian ode to good parenting.
  6. Bridget Jones's Baby
    The script contains some genuinely uproarious laughs and is sharper than it needs to be, even if some of the jokes feel as old as Bridget’s condoms.
  7. Allied
    There’s something decidedly old-fashioned about the new Brad Pitt-Marion Cotillard spy thriller, Allied. And that ends up being a good thing.
    • 77 Metascore
    • 83 Critic Score
    The Dark Horse
    How The Dark Horse differs from similar based-on-a-true-story dramas like "Remember the Titans" and "Freedom Writers" is the deeply personal focus on the mentor’s own family struggles and mental illness.
  9. Boy and the World
    With his crudely drawn stick-figure body and big, round Wiffle-ball head, Cuca is a bundle of jitterbug energy and boundless imagination. Like Riley’s in "Inside Out," his noggin is a wondrous place to spend an hour or two.
  10. Alien: Covenant
    Gross-outs and gotchas are fun, but they wouldn’t amount to much if Covenant wasn’t so thoroughly well-crafted.
  11. Doctor Strange
    Doctor Strange is thrilling in the way a lot of other Marvel movies are. But what makes it unique is that it’s also heady in a way most Marvel movies don’t dare to be. It’s eye candy and brain candy.
  12. Safe
    Safe gets messy, but you won’t be able to wash it out of your system anytime soon.
  13. The Other Side of the Door
    The true horror of The Other Side of the Door is that Maria, too, has kicked off a vicious cycle of unnatural destruction, as the movie makes clear in its hard-hitting final punchline.
  14. The Edge of Seventeen
    Thankfully, Fremon Craig’s script is smart and sensitive enough not to gloss over the real pain lurking beneath Nadine’s bravado as she deals with the aftermath of her dad’s death, her best friend’s betrayal, and the fact that the right guy (Hayden Szeto) might not be the one with the best bangs.
  15. Men Go to Battle
    The shaggy, semi-focused but assuredly offbeat debut film from Zachary Treitz (co-written with House of Cards actress Kate Lyn Sheil) blends the Civil War with Mumblecore for one of the year’s most authentic trips in the way-back machine.
  16. Elvis & Nixon
    As a surreal slice of history served up nearly half a century later, it feels oddly satisfying: A reminder not just of simpler times, but of all the other wild untold stories we may never know, just because no camera was there to capture them.
  17. Little Men
    Jake and Tony’s journey through early teendom never feels empty.
  18. 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.
    • 58 Metascore
    • 83 Critic Score
    Complete Unknown
    Complete Unknown is perhaps most titillating when it quietly observes moments between its central duo, two long-lost lovers hurling nearly two decades’ worth of unresolved pain at each other over the course of a single evening.
  20. The Birth of a Nation
    A big, unabashedly ambitious picture, heavy with the weight of history. But its best moments turn out to be the smaller human ones.
  21. Dark Night
    It’s also a haunting, thought-provoking piece of work, made infinitely more powerful by all the things it chooses not to show.
  22. Author: The JT LeRoy Story
    Even when the film fails to ask so many of the questions its narrative begs, Author is still a tricky, fascinating look at the strange nexus of art, artifice, and the intoxicating cult of celebrity.
  23. Morris from America
    The definition of a crowd-pleaser.
  24. Under the Shadow
    Under the Shadow is a skilled, chilling feature debut that might follow you around a while after seeing it.
  25. Creative Control
    Creative Control is a much more modest film (both visually and thematically) than something like Her or Ex Machina, but it never feels hamstrung by its limitations. If you go with its future-shock flow, it will cast a spell that feels like something between a dream and a nightmare.
  26. The Light Between Oceans
    The whole thing is feverishly earnest and more than a little manipulative, but it’s also possibly the prettiest two hours of emotional ­masochism so far this year.
  27. Juice
    The film is an inflammatory morality play shot through with rage and despair.
  28. House Party
    The movie is slick and cartoonish but also extremely clever, and its unabashed conventionality is exactly what’s fun about it.
    • 65 Metascore
    • 83 Critic Score
    White Girl
    Somewhere between Catherine Hardwicke’s "Thirteen" and Harmony Korine’s "Spring Breakers" lies the rebellious mood of Elizabeth Wood’s White Girl, a Sundance firecracker that easily finds its place among the cinematic canon of great dramas cut from the good-girl-gone-bad cloth.
  30. John Wick: Chapter 2
    The idea of a secret world of professional killers adhering to a set of civilized conventions may sound absurd, but it’s what makes the Wickverse more intriguing and far richer than the usual numbskull orgy of cinematic nihilism.
    • 59 Metascore
    • 83 Critic Score
    Barney Thomson
    Ultimately, Barney Thomson’s roots are exposed too easily, and the question of “where’d they get that from?” often trumps our curiosity of where the film at hand is going, and that’s a problem.
  32. Don't Think Twice
    Don’t Think Twice isn’t all envy and self-doubt; Birbiglia has also crafted a love letter to improv, capturing the tempestuous and unforgiving art form in a way that only an insider could.
  33. Indiana Jones and the Dial of Destiny
    Much like the entries of the original trilogy, at its heart, Dial is a rip-roaring adventure that borrows more from the cinematic language of golden age swashbucklers than modern blockbusters.
  34. The Infiltrator
    The Infiltrator may not be as innovative as "Breaking Bad," but it sure is fun to watch Cranston at his best again, masterfully walking the tightrope between good and bad.
  35. Life
    If you lower your sights a few pegs and go in looking for a solid, tight B-movie that builds right until the final shot, there’s a lot to like.
  36. Don't Breathe
    Thought-provoking but rather lacking in the second-by-second scares genre fans tend to expect.
  37. The Wailing
    Despite its epic length, The Wailing never bores as Na slathers his tale with generous supplies of atmosphere and awfulness.
  38. Nocturnal Animals
    The movie’s lofty narrative ambitions never quite catch up with its aesthetics, but it’s still a fantastic beast of a film, intoxicating and strange.
  39. Gleason
    The result is a candid testament to not only Gleason himself but the many people who love him.
  40. The Grinch
    Kids could still watch the peerless 1966 original, though their blooming little cortexes will probably respond to the shiny-bright novelty here — and be newly spellbound by a tale almost as old as color television, but still evergreen.
  41. Ralph Breaks the Internet
    Ambitious, beautifully animated, and clever to a fault, Ralph Breaks the Internet breaks free of the pitfalls of most sequels by never forgoing heart for the sake of bigger franchise pyrotechnics.
  42. Train to Busan
    The result is first-class throughout.
  43. The Commune
    The movie may feel minor next to Vinterberg’s more serious work, but it’s more personal, too: A messy, tender window into the world that shaped him.
  44. Una
    Una’s raw, deeply dis­comfiting dance between obsession and exploitation isn’t easy to watch by any metric; they make it hard to look away.
  45. A United Kingdom
    It’s their quiet devotion and enduring dignity that give A United Kingdom not just a romantic center, but its soul.
  46. The Girl with All the Gifts
    It’s a film for people who thought they never needed to sit through another zombie flick.
  47. A Man Called Ove
    Holm’s adaptation is a darkly funny, tragic, and ultimately heartwarming tearjerker about the life of one lonely but extraordinary man.
  48. 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.
  49. Darkest Hour
    I don’t think we’ll ever see anyone else do Churchill this well again unless the man himself comes back from the dead.
  50. Free Fire
    If you’ve always believed that the climactic Mexican standoff in "Reservoir Dogs" should have been the whole movie, then you’ll love Free Fire.
  51. 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.
  52. Colossal
    Even if the script’s psychological reach ultimately falls short, Colossal is still a clever, comic, wildly surreal ride — right up until the last sucker-punch frame.
  53. Mulan
    Whether its stronger rating and more somber tone will translate to a home-bound family audience, only time and streaming revenues will tell; in the meantime, Mulan might be the closest thing to a true old-fashioned theater-going experience the end of this strange summer will see.
  54. Downsizing
    The result is a dadaist swirl of satire, pie-eyed whimsy, and speculative futurism — like "Gulliver’s Travels" through the wrong end of a telescope.
  55. Everything, Everything
    Director Stella Meghie sidesteps the pitfalls of your typical YA movie, delivering a gorgeous and sweet story that you can’t help but fall in love with.
  56. A Star Is Born
    It’s Cooper, in his directing debut, who ultimately has to carry the film from both sides.
  57. The Belko Experiment
    Belko is an appropriately disreputable, gleefully disturbing movie.
  58. 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.
  59. A Bad Moms Christmas
    What follows is another slapstick dose of hard-R ridiculosity with a soft-nougat center, but it also passes the Bechdel test maybe better than any other film this year, and its older generation of stars are too smart not to go to town on their stock roles.
  60. The Beguiled
    For all that lavish calibration, its beauty is a little remote, too — so beguiled by style that it forgets, or simply declines, to make us feel too much.
  61. Coco
    The vividness of the narrative never quite matches the riotous swirl of color and culture on screen — and neither do the songs, sadly, for how central they are to the story. Instead, Coco settles into something gentler but still irrefutably sweet: a movie that plays safe with the status quo, even as it breaks with it.
  62. Murder on the Orient Express
    Branagh executes his double duties with a gratifyingly light touch, tweaking the story’s more mothballed elements without burying it all in winky wham-bam modernity.
  63. Landline
    In sweetly calibrated moments — a downtown drug deal gone wrong; Falco alone under strobe lights, swaying ecstatically to Donna Summer — Landline finds the analog joy it’s reaching for.
  64. A Hidden Life
    A Hidden Life’s cinematographer is Jörg Widmer, Malick’s longtime camera operator. His work is handsome and a tad too dutiful. There are so many gorgeous shots of Franz scything through farmland, and I kept wishing someone had scythed a half-hour off the running time.
  65. Wind River
    For all its well-worn outlines, the narrative exerts its own fierce, clenched-jaw grip: a cautionary campfire tale that reminds us it’s not merely the end that matters, it’s the style and skill of the telling.
  66. Beach Rats
    Between "Moonlight" and the upcoming "Call Me By Your Name," some are calling this the golden age of gay coming-of-age cinema; Beach Rats’ slow pacing and dreamy verité style doesn’t feel made for quite that level of mainstream appeal. But still it gets under the skin, and stays there.
  67. Menashe
    The film (shot mostly in Yiddish) has an unpolished intimacy, peeling back the surface exoticism of a cloistered faith to reveal the poignantly ordinary struggle of being an imperfect person in the world.
  68. Thoroughbreds
    What begins as a gleefully nasty piece of work gradually picks up more nuance as it goes, adding dimensions to characters who could easily have coasted on the story’s arched-eyebrow burlesque.
  69. Whose Streets?
    It’s stronger as a collection of Ferguson voices and figures, such as rapper Tef Poe, who quiets a crowd in one scene by warning, “You ain’t gonna outshoot [the police].” In moments like those, Whose Streets? is a tragic yet essential portrait of a community under siege.
    • 78 Metascore
    • 83 Critic Score
    Long Strange Trip
    It’s all about finding the gems, and Long Strange Trip is a treasure chest.
  71. Dina
    Both are on the autism spectrum, and filmmakers Dan Sickles and Antonio Santini chronicle the pair’s love story in touching, captivating detail.
  72. Super Dark Times
    Super Dark Times perfectly nails the minute details of adolescence—a minefield of confusion about right and wrong that leads to all kinds of impulsive bad decisions.
  73. Final Portrait
    With its de-saturated grays and layered textures, Final Portrait itself is like a still portrait of Giacometti. You, as the viewer, are lucky just to get to spend time with these men during twenty or so days in their lives, privileged to be allowed inside Giacometti’s studio, watching the painting come together.
  74. Logan Lucky
    A fizzy, twisty Southern-fried heist flick that’s more enjoyable the less you try to dissect it.
  75. The Tango Lesson
    The Tango Lesson is about as far away from Al Pacino’s Scent of a Woman hotdogging as you can get; it really is about the scent of a woman, in all her fascinating peculiarity.
  76. First They Killed My Father
    It’s an artful, quietly affecting piece of filmmaking, more than worth the lessons learned.
  77. The Freedom to Marry
    If the 
story’s outcome is hardly a 
mystery — the landmark case was affirmed by a 5–4 margin in June 2015 — and the look of the film itself a little docu-drab, it’s also a shrewd and frequently moving testament to the true nature of change.
  78. War Machine
    It’s a smart, sharp spitball of a film, but it would’ve been better with a smaller, subtler hammer.
  79. The Disaster Artist
    It feels only appropriate that James Franco, an actor and director for whom weirdness is next to godliness, would be the one to tell his story.
  80. Annette
    Is Annette a farce, a metaphor, a noir meditation on fame? Only God and maybe the Maels know for sure. But like so many of the best and strangest moments that festivals like this bring, it's nearly impossible to witness it all and not walk away feeling altered (irrationally, emotionally, chemically) in some way.
  81. Battle of the Sexes
    The symbolic power of what happened there — one small step, one giant leap for womankind — is still the movie’s truest ace.
  82. The Old Man & the Gun
    The film is fizzy, lightweight fun with some real moments of genuine heart.
  83. Thank You for Your Service
    Thank You For Service is so successful at capturing the Iraq War’s effects on American lives.
  84. The Post
    If you look at The Post next to something like All the President’s Men, you see the difference between having a story passively explained to you and actively helping to untangle it. That’s a small quibble with an urgent and impeccably acted film. But it’s also the difference between a very good movie and a great one.
  85. The Lion King
    The story and the songs, with a few notable if hardly unexpected updates, are fondly faithful to the original; the magic mostly intact. Another reboot was never terribly necessary, maybe — but it’s good, still, to be King.
  86. I Am Heath Ledger
    What it does offer, however, is a touching celebration of his life — and it largely does so by using a collection of home videos Ledger recorded throughout his career.
  87. Tully
    Tully feels like the work of a writer who’s matured and lived and become less superficial without giving up any of her natural gift for finding humor in the absurd.
    • 78 Metascore
    • 83 Critic Score
    Gaslight
    It’s canny, gothic fun, helped along by Lansbury (in her film debut) as a tarty maid who delights in overstepping boundaries.
  89. Double Lover
    The kind of deliriously trashy psychosexual thriller that only the French seem to be able to pull off with a straight face. It’s like "Dead Ringers" meets "Body Double" with a kinky, winking full-frontal Gallic twist.
  90. Better Watch Out
    Peckover’s sharp directing keeps things nicely nasty without ever going too far over the top — though it’s possible some gore-averse Scrooges may disagree. If you want to gift yourself a holiday film that decks the halls with blood, this is one to put under the tree.
  91. Us
    Fans of Get Out, Peele’s brilliant, mind-bending 2017 debut, may feel vaguely let down that his follow-up is, for all of its sly humor and high style, a fairly straightforward genre piece, and that its bigger ideas and metaphors don’t feel quite fully baked.
  92. 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.
  93. Muppet Treasure Island
    Tim Curry makes a fine, flashy Long John Silver, and charming newcomer Kevin Bishop is a lively, toothy young Jim Hawkins, but it’s Gonzo and Rizzo the Rat who make Muppet Treasure Island, the Muppets musical adaptation of the Robert Louis Stevenson, novel a hoot.
  94. Stand by Me
    Rob Reiner’s film is all about the journey, not the destination. And all of his young actors are great — Wheaton as the sensitive narrator, Feldman as the slightly crazy wild card, and especially Phoenix as the tough-yet-tender doomed soul.
  95. Happy Death Day
    Happy Death Day is directed with vim, vigor, and heart by Christopher Landon (Scouts Guide to the Zombie Apocalypse), and boasts a winning central performance from Rothe.
  96. Misery
    The movie has a real kick to it. As Paul and Annie attempt to outsmart each other, Misery gets nastier and nastier. It turns into a psychotic cat-and-mouse game, and there are some genuine shocks.
  97. Bad Influence
    The movie is consistently entertaining; it sucks you in. James Spader is a little too recessive, yet he lends the action a core of wormy anxiety.
  98. Frankie and Johnny
    Frankie & Johnny does what any true romantic movie should: It makes the mysterious, push-and-pull alchemy of love seem, once again, worth the effort.
  99. Hot Shots!
    Hot Shots! offers a satisfying kick in the pants to a movie (and an era) that has more than earned it.
  100. 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.
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