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. After Life
    The simplicity and poignancy of the choices — riding a bus, swinging on a swing — and the great variety of interviewees result in a film of nonsticky freshness, as well as unforced profundity.
  2. All the Money in the World
    A smart, eminently watchable thriller, taut and stylish, and Plummer is remarkably good in it.
  3. Game Night
    McAdams, whose comedic skills have gone unsung for way too long, is dizzy fun. The whole movie is, actually, even if it pretty much evaporates on impact — a kooky, vicarious loop of Mad Libs meets Cards Against Humanity, where whoever’s holding the popcorn last wins.
  4. The Naked Gun 2½: The Smell of Fear
    it’s consistently funny and inventive.
  5. The Sure Thing
    Rob Reiner’s Spinal Tap follow-up is surprisingly deep for a flick that rests on the same shelf as Hardbodies and My Tutor. But as Gib would say, ”What the hell’s wrong with being stupid once in a while?
  6. Film Stars Don't Die in Liverpool
    It’s a minor-key tale by any measure: a May-December romance played out in the fading shadow of Old Hollywood glamour. But it also has the benefit of a thoughtful script, sensitive direction, and leads gifted enough to breathe fresh air into nearly every moment.
  7. Strong Island
    Strong builds a poignant, methodical portrait of loss.
  8. Borg vs. McEnroe
    Of the film’s two stars, it’s LaBeouf who seems especially well cast here. Until now, the actor has never seemed to measure up to the potential that he promised early on in his career. But there’s something about playing McEnroe that brings out the sort of unpredictable subtlety he’s always been capable of.
  9. 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.
  10. 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.
  11. The Insult
    An ethically thorny morality play that thoughtfully transcends borders, cultures, and religious beliefs.
  12. Scotty and the Secret History of Hollywood
    He’s not just a name-dropper, but a master storyteller. Whether you believe every spicy morsel that drops from his lips is entirely up to you.
  13. Ad Astra
    The result is a genuine space epic which also succeeds in being a very personal film, thanks in large part to Pitt’s performance.
  14. 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.
  15. Chappaquiddick
    What the movie doesn’t do, until it’s nearly over, is make any real case for why so much of America continued to put their faith in Kennedy long after the facts of the case were revealed.
  16. Lorenzo's Oil
    Lorenzo’s Oil is at once harrowing and riveting. In the age of AIDS, it has telling observations to make about how the institutionalized complacency of the medical establishment actually works. As remarkable a job as Miller and the actors have done, though, the film begins to wear you down. At 2 hours and 15 minutes, it’s far too long, and (more crucially) it has a flat, repetitive structure.
  17. Beirut
    The performances are strong and the story is absorbing; a smart diversion for adult attention spans.
  18. Wind
    Wind sometimes dawdles, but it’s a sports movie with soul.
  19. A Quiet Place
    When A Quiet Place has one finger on the panic button and the other on mute, it’s a nervy, terrifying thrill.
  20. 7 Days in Entebbe
    The film comes to crackling life during the planning and climactic execution of the raid. And Padilha, the Brazilian director behind 2007’s "Elite Squad," knows how to stage these white-knuckle sequences, especially when he cuts back and forth between the on-the-ground tactical assault and a modern dance performance featuring one of the commando’s girlfriends.
  21. 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. 
  22. Arachnophobia
    Arachnophobia is a skin-crawling horror film that never loses its cheeky, throwaway edge. 
  23. 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.
  24. Teen Titans Go! To the Movies
    The meta jokes flow like Mountain Dew — this is a rollicking, goofy superhero send-up that never overstays its welcome.
  25. Creed II
    Creed II slavishly follows the sentimental-palooka Rocky template as if it were a sacred text. Still, it doesn’t make those old rope-a-dope tropes any less effective.
  26. Bumblebee
    John Cena is top billed, and though his brick-jawed military man doesn’t actually get many scenes, he does get a disproportionate share of the script’s best lines. He gives good muscle, but Bumblebee brings something even more important — and actually transforming — to the series: a sense of humor, and a heart.
  27. BlacKkKlansman
    It’s easily the director’s best movie since 2002’s "25th Hour."
  28. Non-Fiction
    In the end, Non-Fiction is a warm, humane story that ends on a hopeful note reminiscent of "Hannah and Her Sisters." Life can be a messy business, but every so often it reveals moments of unexpected joy with perfect clarity.
  29. 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.
  30. 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.
  31. Outlaw King
    Mackenzie falls a little too in love with his battle scenes; by the fourth clash of blood and swords it all starts to feel like déjà vu, with different horses. At nearly two and a half hours, there’s clearly room to trim.... But he also films it beautifully in the natural light of candles, torches, and overcast skies, and there’s a solidness to the old-fashioned conventions of his storytelling.
  32. Transit
    Petzold walks the tricky tightrope of being both timeless and timely, the performances (especially those of Rogowski and Beer) are chillingly good, and the ambiguous final shot is damn near perfect. In Transit, the past is prologue… and it’s devastating.
  33. Swimming with Sharks
    Swimming With Sharks swipes its basic design from Robert Altman’s The Player: It’s yet another black satirical morality play about a yuppie climber who learns to be a killer. But since Guy, for all his ass-kissing resentment, isn’t really filled in as a character, our attention — and, in a curious way, our sympathy — shifts to the monster himself. When Spacey goes ballistic, only to freeze the nitroglycerine in his veins a moment later, you don’t want to look anywhere else.
  34. The Madness of King George
    The humor built into this sharp-witted human comedy is enhanced in the translation. Meanwhile, the arrestingly stylized imagery of the original Madness has not been lost.
  35. American Animals
    A movie seemingly custom-made for the era of alternative facts, American Animals feels like a new kind of true-crime thriller: one that shamelessly rewrites its truths in real time as it goes.
  36. Madeline's Madeline
    Madeline is the kind of movie that won’t come anywhere near the mainstream, and clearly wasn’t meant to. But for the dozens of viewers it will almost certainly baffle or exasperate, there will be one or two completely captured by its peculiar magic.
  37. Generation Wealth
    Eventually, it’s Wealth‘s inherent too-muchness that undoes its own best intentions.
  38. Juliet, Naked
    Much like the book, the plot is essentially a wisp, and Byrne is far too luminous for her sad-sack role. But Juliet still feels winning; the small, sweet grace note on a familiar melody.
  39. The Irishman
    It all becomes a sort of muddle for a while midway, one that’s not nearly as compelling as the acting itself, which is largely phenomenal, frequently surprising, and often more than a little bit heartbreaking.
  40. Wildlife
    Wildlife is confident and patient and mature. It may be a small film, but its power is massive. Especially its very last shot, which is so devastating it has the force of a sucker punch.
  41. Assassination Nation
    There’s a kinetic energy in Levinson’s telling, and real catharsis in a riotous final sequence that feels all the more triumphant for the unlikeliness of such a bloody, happy ending.
  42. Nancy
    It is not a thriller nor even, really, a mystery. Instead, much like a play, it forces you to pay attention to the nuances of each of the actors’ (very well-done) performances, to sit with the characters quietly as if in a sitting room too formal to do much else.
  43. Puzzle
    Director Marc Turtletaub pulls thoughtful, carefully shaded performances from Denman, Khan, and, most of all, Scottish actress Macdonald (Boardwalk Empire, No Country for Old Men), who refuses to let Agnes be an easy avatar for midlife longing and suburban discontent.
  44. Blaze
    Blaze isn’t a flashy movie, which seems about right since Hawke’s closest mentors and collaborators (Richard Linklater, for example) aren’t known for their look-at-me personalities. Like the real-life Foley, they’re storytellers and yarn spinners first and foremost, fame and fortune be damned.
  45. Outside In
    Shelton may not be as prolific as the Duplasses (I’m not sure anyone could be – they seem to churn out movies in their sleep), but her work has steadily gotten more assured and quietly powerful. Her continued partnership with the brothers is a tonic for anyone who cares about keeping the Sundance-of-the-‘90s spirit alive.
  46. The Last Boy Scout
    The Last Boy Scout is a guilty pleasure by any standard, but I’ve seen plenty of guilt-free movies lately that aren’t this much fun.
  47. Wildling
    A clever, sharp-fanged mélange of classic midnight-movie horror and modern indie ingenuity.
    • 67 Metascore
    • 83 Critic Score
    A Simple Favor
    The film is full of panache, from its sexy French score to its glistening gin martinis, and it weaponizes style, using it to keep audiences off balance as the mystery unfolds.
  49. Operation Finale
    It’s the psychological duel between the terrific Isaac and Kingsley as captor and prisoner that delivers the film’s most charged jolts of electricity.
  50. Overlord
    A surprisingly well-made mash-up of old-fashion war movie tropes and proudly disgusting horror-flick shocks. It’s a ton of fun.
  51. And Then I Go
    In quiet, often dream-like interludes that frequently burst open into scenes of brutal verbal or physical violence, director Vincent Grashaw explores what it’s like to be Edwin, so battered by anxiety and anger and a crushing sense of unfairness that he hardly sleeps at night.
  52. Greyhound
    The movie maps its course by Hanks' steady hand: A ship moving swiftly and with sure purpose — compelled by death and danger, but safe in the certainty of history.
  53. The Wife
    Welsh actor Pryce (Game of Thrones) is fantastic — a fussy, adulterous egoist in the Great Man mold of Norman Mailer or Philip Roth, with his own touchingly real frailties. But the movie belongs to Close, whose face, as she is courted and patronized, sexually betrayed and damned with faint praise, is a marvel of emotional intelligence and control.
  54. McQueen
    If McQueen feels like it’s missing some deeper insights, it may be because its subject kept so much of himself hidden from even the people who loved him most.... What’s left is a fascinating if incomplete portrait of genius interrupted — and a life that should have lasted much longer than it did.
  55. Love, Gilda
    Love, Gilda is penetrating, painful, and personal.
  56. Far from the Tree
    All of the families in Far From the Tree are compelling — their trials unimaginable and their spirits indomitable.
  57. One October
    It’s Pigeon’s sincere approach here and throughout the documentary that holds the audience’s attention.
  58. Cold War
    Director Pawel Pawlikowski’s Cold War resembles a waking dream. And a ravishingly romantic one at that.
  59. Arctic
    Penna’s concept is hardly new, but his execution is sharp, clean, and smartly paced; a harrowing postcard from the void.
  60. Deliverance
    With his Mephisto-phelean swagger and chewy, good ol’ boy drawl, Reynolds is a chest-beating revelation.
  61. Capernaum
    For all of its brutal, raw force, Labaki’s excellent film is tough sledding — a sucker punch that lands with the emotional force of Dickens relocated to the slums of the modern-day Middle East. It leaves a bruise.
  62. The Truth
    Because if anyone can handle The Truth, it's Deneuve. The French icon is as magnetic as ever, and she inhabits Fabienne (which is, incidentally, her own middle name) effortlessly, with a sly self-awareness that never undermines the fiction.
  63. Rocketman
    Egerton’s whole-body commitment captures not just Elton’s outrageous physicality — in costume designer Julian Day’s hands, he’s essentially a one-man Mardi Gras — but his enduring sadness and insecurity (and the self-sabotaging behavior it was too often funneled through) without tipping into showbiz-tragedy cliché. He’s the starry-eyed cosmonaut the part demands, but merely, endearingly mortal too.
  64. Pet Sematary
    Fortunately, directing duo Kevin Kolsch and Dennis Widmyer get everything absolutely right in their bone-chillingly effective new remake.
  65. 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.
  66. Studio 54
    One of the great surprises of Matt Tyrnauer’s giddy glitterbomb of a documentary about New York’s infamously Caligulan Me Decade hot spot is discovering how much of our culture (the drugs, the music, the sexual liberation) is wrapped up in one nightclub that existed for a mere 33 months.
  67. The Poseidon Adventure
    Once the lady in question is overturned by a freak tidal wave the tone shifts from unintentionally comedic to undeniably exciting as renegade priest Gene Hackman leads a motley band of souls (including Ernest Borgnine, Shelley Winters, and Roddy McDowall) on their upside down quest to escape from a watery grave.
  68. At Eternity's Gate
    If Eternity is hardly a completist portrait — or even a narratively satisfying one, really — it’s still gratifying to watch in other ways. Not just for the pureness of Dafoe’s performance but for the way it lets art be both celebrated and unexplained, still as much a mystery as the man who made it.
  69. The Verdict
    If you were presenting a case for Newman’s legacy of acting brilliance, this film would be exhibit A.
  70. Deep Red
    A Freudian honey trap of murder and women straight out of Italian Vogue.
  71. Green Book
    In a world that seems to get uglier every day, this movie’s gentle heart and mere humanity feel like a salve.
  72. Monrovia, Indiana
    Few filmmakers can turn a mundane town council meeting about a library bench into a meditation on patriotism and civic responsibility the way Wiseman can. Let’s hope his camera continues to roll for years to come.
  73. A Private War
    By the time the narrative comes to Colvin’s greatest get — she was essentially the first Western journalist to get inside Homs and refute Syrian President Bashar al-Assad’s bold-faced lie that he wasn’t bombing his own people into oblivion — the price of that sacrifice, and the power of her story, feels finally, fully real. Whatever her private battles, War works hard to be the public reckoning her work deserves.
  74. Shampoo
    There’s a self-awareness to Shampoo that gives the movie a cleansing sadness and, oddly, makes Beatty an affectingly amoral roue.
  75. A Quiet Place Part II
    Once again, Krasinski manages to render relatively straightforward tasks — nursing a baby, tuning a radio, walking through a train car — harrowing; dialogue, by necessity, is rarely wasted, and his actors feel far more sympathetically human and real than most meat-puppet horror chum.
  76. Cold Pursuit
    It knows exactly what kind of movie it is, but that doesn’t stand in the way of it goosing its bloodbath set pieces with irreverent, off-kilter gallows humor.
  77. The Biggest Little Farm
    As the story unfolds over nearly a decade, Biggest becomes something even more impactful: a thoughtful and often profoundly moving portrait of the remarkable work involved in producing mindful food — and an eloquent reminder that so much of what we take for granted on our plates is, in its own everyday way, a miracle.
  78. Scary Stories to Tell in the Dark
    Blessed with some firm hands on the terror tiller and a winning cast, Scary Stories to Tell in the Dark is a handsome, and deliciously horrible, horror movie.
  79. Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)
    Does the movie’s pop-feminist message need to be as consistently, cartoonishly violent as it is? Almost definitely not. But in a world gone mad, the catharsis of Prey’s twisted sisterhood doesn’t just read as pandemonium for its own sake; it’s actually pretty damn sweet.
  80. Vice
    The shrewd, relentless winkiness of McKay’s filmmaking style may have worked better, though, for breaking down subprime mortgages in The Big Short than it does chronicling a deadly misbegotten war. What remains then is the cipher at the center of Vice: the Man Who Wasn’t There, and probably never will be.
  81. The Clovehitch Killer
    Unlike so many recent horror movies, The Clovehitch Killer is patient with its thrills, almost excruciatingly so.
  82. Mother
    The best reason to see Mother is the deliciously off-kilter performance of Debbie Reynolds, who speaks in pure honey-sweet tones yet keeps planting tiny seeds of disapproval, using her maternal ”concern” as an invisible form of warfare. You never quite catch her doing it; the character doesn’t even know she’s doing it. She just is who she is, and by the end you realize that that’s her glory.
  83. Isn't It Romantic
    Isn’t It Romantic pulls off a sweet sleight-of-hand trick as a rom-com-within-a-rom-com, mocking all of the classic rom-com tropes while still letting us indulge in them. The movie is having its gourmet cupcake and eating it too.
  84. The Frighteners
    The Frighteners is also that rare horror film that actually gets better as it proceeds; this scare machine has a heart and a brain.
  85. Dave
    For all its modest charm, Dave is a true throwback to the Capra days, a political comedy just cockeyed enough to triumph over cynicism.
  86. The Mustang
    First-time feature filmmaker Laure de Clermont-Tonnerre brings a gorgeous, wide-open sparseness to her visual storytelling (it makes sense that Robert Redford, the original Sundance Kid, is listed as an executive producer), but it’s largely Schoenaerts’ movie to carry.
  87. Where's My Roy Cohn?
    Donald Trump was less kind, essentially abandoning him after his then still-secret diagnosis. Tyrnauer smartly doesn’t overplay the symbolism of their relationship, or work too hard to connect the dots; it’s all there to take or leave in the film’s shrewd, illuminating exploration of a man whose influence, for better or worse, may have far outdone even his wildest dreams.
    • 84 Metascore
    • 83 Critic Score
    Kagemusha
    An often breathtaking but slightly bloodless samurai epic.
  89. Hail Satan?
    Why end a rallying cry with a question mark? The devil is in the details, or at least in the punctuation of Hail Satan?, a movie that often seems to teeter on the line between doc- and mockumentary — a sincere examination of a social and political movement delivered with just a soupçon of Christopher Guest.
  90. Fyre
    The movie is more than a bonfire of the inanities; it’s a shrewd indictment of a dream gone spectacularly, criminally wrong.
  91. The Devil All the Time
    With a cast so large and so consistently good, it's nearly impossible to single out more than a few players, though it's maybe most gratifying to see Holland so far from Peter Parker mode; his performance is delicately underplayed, which is not a claim Pattinson can probably make with a straight face.
  92. Knives Out
    A silly, stabby, supremely clever whodunnit that only really suffers from having too little room for each of its talented players to fully register in the film’s limited run time.
  93. Someone Great
    If shrewd one-liners and small moments ultimately override the episodic narrative, Someone‘s takeaway — that love is a messy-splendored thing, and “happily ever after” is just a story that hasn’t finished yet — feels refreshing modern and true.
  94. Blinded by the Light
    Love, faith, Springsteen; that and a Sony Walkman are all it takes to surrender to the pure, ingenuous joy of Blinded by the Light, a Technicolor ode to the power of music so deeply tender and heartfelt that it disarms even the most misanthropic critic’s instincts.
  95. The Farewell
    Wang’s story outline shares the familiar contours of other immigrant tales: the Babel tower of half-spoken languages; the ties that bind across oceans, and the physical and cultural gaps that can still break them. But Farewell also has the freshness of her own distinct voice, a dry humor and low-key melancholy that infuses even the most quotidian scenes.
  96. American Factory
    The movie, which bowed to uniformly rave reviews at Sundance earlier this year, is also — it will probably be noted ad nauseum — the first film collaboration from Barack and Michelle Obama’s new production company Higher Ground. But the heart and soul of American Factory, like all American factories, is never really politics of course; it’s people.
  97. One Child Nation
    If One Child sometimes seems to raise more questions than it can answer, and more pain than it has room to explore, the movie offers an urgent and affecting reminder of what happens when the rule of law subsumes not just free will but the very act of existing — and the humanity that still, against all odds, endures.
    • 80 Metascore
    • 83 Critic Score
    Prince of the City
    What remains is nearly three hours of disorientation and paranoia, accented by Method-y monologue outbursts that quickly disappear into a vacuum of overwhelming loneliness.
    • 70 Metascore
    • 83 Critic Score
    Catch-22
    The director of Who’s Afraid of Virginia Woolf? and The Graduate is more at home with minute personal tensions than with the epic hysteria this project required, so file the film under botched masterpieces.
  100. Europa Europa
    Europa, Europa isn’t the wrenching emotional saga it might have been.
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