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. Booksmart
    If the storyline doesn’t so much unfold as burst out in glittery puffs — and if music cues seem to make up about 40 percent of the plot—it’s still an endearing kind of chaos.
  2. American Woman
    As more than a decade passes on screen, the one constant is Miller’s presence in every scene: a messy, chain-smoking sex kitten stumbling from delayed adolescence toward a grown womanhood — painful, honest, and flawed — worth waiting for.
  3. Ready or Not
    So come for the crossbows, etc., and to watch Weaving’s star be born in real time; stay for the socio-economic lessons and sweet, sweet revenge.
  4. 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.
  5. The Climb
    And for all the absurdist laughs (and not a few cringes) both men wring from it, their interplay feels both inherently ridiculous and entirely true to life; a bittersweet bromance writ in whiskey and spandex.
  6. The Lighthouse
    The mannered aye-matey dialogue often gives Lighthouse the performative feeling of a play, but Eggers (The Witch) is also a masterful stylist; judging by several cues, the story is set in some version of the 19th century, though it tends to treat time less as a set fact than a sort of metaphysical condition.
  7. John Wick: Chapter 4
    As Wick carves a path of stoic destruction across several continents, the series' longtime director Chad Stahelski, once Reeves' Matrix stand-in and longtime stunt coordinator, gets down to the business of what he loves best: creative kills, far-flung zip codes, and incalculable body counts.
  8. Ford v Ferrari
    It’s a movie so well put together as a hero’s tale that it moves along almost too smoothly; the script by brothers Jez and John Henry Butterworth hits its marks of tragedy and triumph with a kind of shiny, measured inevitability.
    • 79 Metascore
    • 83 Critic Score
    El Cid
    El Cid remains a visually sumptuous film graced with a passionate score by Miklos Rozsa.
    • 28 Metascore
    • 83 Critic Score
    Surf Nazis Must Die
    The best thing about this B movie is always going to be its title, but there’s more than a catchy name to this DVD.
  11. The Hunt
    The Hunt stuffs a satire grenade down America’s pants, hoping the shrapnel spreads from sea to shining sea. The explosion is messy, but it sure is an explosion, with a brisk hour-and-half runtime full of violent twists and cackling turns.
  12. Hustlers
    Beneath all the chinchilla and body glitter, there’s a smart, beating heart.
  13. Black Widow
    If Widow, with its winky one-liners and spandexed catsuits, is purely pop feminism, the movie's female gaze still reads like more than a cynical marketing ploy; it's one step closer to real, messy life, Marvel-size and amplified.
  14. Shang-Chi and the Legend of the Ten Rings
    They'd be crazy not to give Meng'er Zhang, as Shang-Chi's ferociously watchable sister Xialing, her own spin-off, and Awkwafina, who spends at least a third of the movie in a fanny pack and lime-green parachute pants, polishes her sardonic slacker M.O. to a high one-liner shine.
  15. A Beautiful Day in the Neighborhood
    Hanks plays Fred as he lays: a sort of secular Buddha in a red knit cardigan whose gently probing questions and Zen proclamations work as a slow dissolving agent on Lloyd’s resistance.
  16. Dolemite Is My Name
    Murphy...brings so much hope and hunger and pure life force to the role that he makes you believe in every punchline, pelvic thrust, and egregiously misplaced karate kick.
  17. The Last Duel
    Duel is entirely, often sensationally watchable without ever quite justifying why it needs to remind us what the world has done to women for centuries.
  18. Bad Education
    Director Cory Finley (who also helmed 2017’s great, underappreciated "Thoroughbreds") brings a light touch to Mike Makowsky’s script, nimbly balancing broader comedy and pathos.
    • 65 Metascore
    • 83 Critic Score
    The Missouri Breaks
    It’s quite good.
    • 81 Metascore
    • 83 Critic Score
    The Hill
    Rebel-with-a-cause clichés are mostly averted by sturdy acting, Oswald Morris’ vivid black-and-white cinematography, and a satisfyingly bleak conclusion.
  21. To All the Boys: P.S. I Still Love You
    Though it also feels like the kind of movie you wish they made more often for all the boys, and girls, still figuring out who they are — especially the ones who don’t tend to see themselves nearly enough on screen: a reflection shinier than real life maybe, but generous and good-hearted to the core.
  22. Babyteeth
    Davis and "Bloodline" Emmy winner Mendelsohn, both Australian screen veterans, do the less glamorous work of being sad, angry adults, though it's often their ordinary grief that grounds the movie, even as their stories lean into the clichés of certain coping mechanisms (Pills! Infidelity! Bargaining with God!).
  23. Black Panther: Wakanda Forever
    While a Black Panther without Boseman is undoubtedly nothing like the film's creators or any of its cast wanted it to be, the movie they've made feels like something unusually elegant and profound for the multiplex: a little bit of forever for the star who left too soon.
  24. El Camino: A Breaking Bad Movie
    What’s lacking in this entertaining pulp quest, I think, is some essential surprise.
  25. The Two Popes
    As these vastly different men parry, spar, and circle one another, Meirelles’ intimately talky two-hander — not counting, depending on how you might choose to qualify these things, a third invisible hand upstairs — works with wit and quiet humor to demystify perhaps the most powerful and insular post in the world.
  26. Waves
    In the sometimes overstuffed script there’s more than a touch, too, of the TV projects two of its stars are best known for: This Is Us (Brown) and Euphoria (Demie). If the pairing of those two wildly different shows sounds counterintuitive, it speaks, maybe, to how much Shults seems to want to fit into Waves both dramatically and style-wise. In end though, substance — or at least his sincere approximation of it — wins.
    • 72 Metascore
    • 83 Critic Score
    Polyester
    Long before Mel Brooks, trash aesthete John Waters was making movies dedicated to the proposition that life stinks.
    • 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.
  29. The Assistant
    Instead of melodrama, the movie finds its traction in parsing out micro-aggressions and mood: a sort of devastating slow-drip portrait of the power structures that allowed a man like Weinstein to happen — and keep more like him in place, untouched by any justice a hashtag can reach.
  30. Saint Maud
    The film loses steam when the plot drifts the women apart, but Clark's fearsome performance anchors the surreal final act. Her body is a stage for Saint Maud's demonic dance.
  31. Exotica
    Like Christina’s dance, the movie is a gorgeous tease, an artful promise of something that never quite arrives.
  32. Lord of the Flies
    As a novel, Lord of the Flies never was much more than a Brat Pack Heart of Darkness. It’s doubtful a screen version could be any better than this one.
    • 67 Metascore
    • 83 Critic Score
    The Time Machine
    Wells purists may balk, and Pal’s then state-of-the-art effects do look cheesy by today’s Industrial Light & Magic standards, but The Time Machine retains an appealing Victorian charm. Taylor, the Mel Gibson of the ’60s, is a pleasure to watch.
  34. Richard Jewell
    As a filmmaker, Eastwood may not be famed for subtlety, but he does have a way with economy. And he delivers Jewell’s story with almost no unnecessary flourishes; a taut, streamlined drama leavened by crucial doses of empathy.
  35. The Shaggy D.A.
    The only thing that could possibly be any better is a field-goal-kicking mule.
  36. Bombshell
    Bombshell belongs to its three main female stars. It’s their fierce, finely shaded performances that transcend the film’s drab visual style and drier episodic moments — not just by speaking truth to power, but by confronting the audience’s own ideas of who the right to do that belongs to.
    • 55 Metascore
    • 83 Critic Score
    The Sandlot
    The Sandlot lays down life’s little lessons with the feathery touch of a sacrifice bunt. During the ball-retreiving scenes, as the gang learns to work as a team off the field, the movie never loses its quick pace or its sense of fun. Old baseball wisdom: The best teams win with strong fundamentals. So do the best movies.
    • 63 Metascore
    • 83 Critic Score
    Until the End of the World
    Wenders’ weird and wired view of the near future tempts replay as often as the sensational soundtrack (U2, Talking Heads, Patti Smith).
    • 44 Metascore
    • 83 Critic Score
    The Prophecy
    Mixing one of B horror’s lamest clichés (the failed priest-turned-cop character) with an innovative plot device (a long-missing chapter from the Bible), The Prophecy is an old-fashioned thriller with art-house pretensions.
  40. Emma.
    The freshness is found, primarily, in the energy of her storytelling and her vital young cast.
  41. 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.
  42. 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.
  43. The Matrix Resurrections
    Resurrections does eclipse its predecessors for full-on, kick-you-in-the-heart romance: Reeves and Moss, comfortable with silences, lean into an adult intimacy, so rare in blockbusters, that's more thrilling than any roof jump (though those are pretty terrific too). Their motorbiking through an exploding city, one of them clutching the other, could be the most defiantly sexy scene of a young year.
  44. Once Were Warriors
    You can feel director Lee Tamahori doing his best to get a rise out of you. Yet his work has fire and substance, too.
  45. Two of Us
    Meneghetti, a first-time but remarkably assured filmmaker, gives Two a dreamlike realism, letting the score go ragged in its tensest moments and swooping in artfully on aching closeups and empty spaces.
  46. The Many Saints of Newark
    Saints can't be what Sopranos was — without the time or the ones who've been lost to tell it, fuggedaboutit. But for a hundred-something minutes, it feels close enough to coming home again.
  47. Raya and the Last Dragon
    If Raya's outlines and endpoint are strictly fairy-tale familiar (evil is vanquished, good triumphs, reconstituted dragons romp), the movie feels fresh not just for the mere fact of its female-forward and predominately Asian cast, but for the breeziness with which it bears the weight of Disney history.
  48. Mank
    The story then becomes less a forensic accounting of a masterpiece than a bittersweet ode to a certain slice of old Hollywood: part love letter, part cautionary tale, and still somehow a mystery.
  49. Shirley
    The plot, admittedly, is scattered; this is par for the course for Decker, but in a movie with more conventional bones, the shagginess sticks out. Shirley gorgeously invokes its subject’s style, however, via a disarmingly off-kilter score; handheld camerawork that gets intimate with characters’ psyches; and, most strikingly, a series of unforgettable images that intensify this study of female awakening and decay.
  50. Palm Springs
    At its core, the movie is too in love with love — or at least its messy, time-jumping ideal of it — for that kind of true discomfort comedy. That makes it less brave, maybe, but in this moment we're living in, who could begrudge a happy ending?
  51. The Nest
    Durkin captures it all with a sort of menacing restraint, building a deeply disquieting mood from long, almost voyeuristic shots and loaded gazes.
  52. Kajillionaire
    Jenkins and a nearly unrecognizable Winger make the most of their small monsters, peeling back layers of callousness and calculation to hint at the messier motivations underneath.
  53. Zola
    If Paige and Keogh weren’t both such indelible, fiercely charismatic characters, the whole thing could easily fall apart. But their presence, and Bravo’s singular vision, give Zola a sort of electric buzz: the thrill of watching something stranger than fiction, and somehow better than true.
  54. The Forty-Year-Old Version
    A ramshackle, winningly raw coming-of-middle-age shot in vivid black and white but told in emotional Technicolor.
  55. King Richard
    Green (who made the small, affecting 2018 indie Monsters and Men and this year's little-seen Joe Bell) hasn't reinvented the underdog wheel, but he has made something fresh out of the familiar — a smart reminder that when a story is told well it can hit all the beats we know, and still somehow surprise us.
  56. News of the World
    The movie offers few surprises and even less alacrity; and yet there's a cumulative weight to World that feels, if hardly new, still worth sitting through.
  57. Foxes
    It’s really one of the very first, very early Gen-X movies (the true first one, to me, is 1978’s terrific Over the Edge), and I was struck all over again by the freshness of what it captured: these four prematurely jaded adolescent girls, led by Jodie Foster as the sensible one, living like baby adults, cut off from their parents and the past, bonded only by attitude, consumerism, and the pop-culture decadence they share.
  58. 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.
  59. C'mon C'mon
    Another rich creation in Mills' bittersweet, gently profound collisions of art and life.
  60. The Souvenir: Part II
    Nothing in Souvenir Part II is obvious; one could argue it's even obtuse to the point of excluding most casual moviegoers. But surrendering to Hogg's slow alchemy still feels like a rare treat: a beguilingly meta portrait of the artist as a young woman learning to find herself not just in the mirror of others, but in her own hand behind the camera.
  61. The Name of the Rose
    The film’s packed with messages in invisible ink, secret staircases, and corpses in cauldrons of pig’s blood. And since ? Connery’s bald as a cue ball, that means no distracting Hanksian haircuts!
  62. She Dies Tomorrow
    Wildly unsettling and original.
  63. To the Stars
    To the Stars seems downcast, at first glance, but it serves as a gentle, lovely reminder that one true friendship, even forged amid adversity, can be enough to keep you looking skyward.
    • 62 Metascore
    • 83 Critic Score
    Random Harvest
    Garson and Ronald Colman beautifully play the delicacy of two aching souls trying to recapture their lost romance.
    • 69 Metascore
    • 83 Reviewed by
      Ty Burr
    Salvador
    It serves as testimony to the ghosts that continue to haunt such men as ex-senator Bob Kerrey.
  66. Dungeons & Dragons: Honor Among Thieves
    What's especially welcome about the humor in Honor Among Thieves is that it doesn't wink or mock its material; the characters just say funny things and bounce off each other as organically as a real-life friend group. The fantasy elements are played straight, and the central story is a relatable romp about how people who fail as individuals can still succeed together.
  67. Spider-Man: Across the Spider-Verse
    It's a little sad to say that aside from certain surprises, much of Across the Spider-Verse's contents were in the trailers. The job of a trailer is to show viewers the premise of a movie without spoiling the conclusion — but there's no conclusion here!
    • 83 Metascore
    • 83 Critic Score
    Grey Gardens
    It’s almost impossible to look away.
    • 79 Metascore
    • 83 Critic Score
    Pat and Mike
    Pat and Mike is notable for featuring such actual female sports stars as Babe Didrickson Zaharias and Betty Hicks, and for displaying Hepburn’s own athletic prowess.
  70. Get on the Bus
    In Get on the Bus, director and material come together with perfect ease — one of those occasional confluences of subject and strengths that make a moviegoer go, ”Of course!” Of course Spike Lee throws all of his bravado, all his storytelling talents, and all his artistic chutzpah into a movie about last year’s Million Man March.
  71. For They Know Not What They Do
    Director Daniel Karslake (For the Bible Tells Me So) does that by homing in on singular tales — and letting them unfold largely without judgment or editorializing.
  72. The Rental
    A neat, nasty little thriller with a brutally effective final third.
  73. The Bellboy
    This is where the brilliant second act of Lewis' career begins.
    • 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.
    • 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.
    • 57 Metascore
    • 83 Critic Score
    Little Big League
    Filled with baseball lore, trivia, and cameos by major-league players, this fable covers its bases with sincerity and humor.
  77. Project Power
    For all the patently corny bits and some 17 attempts at an ending, Power still somehow makes it easy to suspend your disbelief and your imaginary degree in biochemistry, and just let it ride.
  78. Spider-Man: No Way Home
    The way that the movie eventually manages to bridge all those multiplicities and pull them into focus feels both obvious and ingenious.
  79. South Central
    Whatever its melodramatic shortcomings, South Central offers a wrenching view of modern youth-gang violence by demonstrating, with desperate candor, that the civilized alternatives are fast disappearing.
  80. The Way I See It
    What it does have in happy excess is Souza’s affable presence, and his remarkable trove of images.
    • 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.
  82. Enola Holmes
    While the mystery might be elementary (my dear, notably absent, Watson), the storytelling is winkingly subversive, proclaiming that a new and welcome game is afoot.
  83. Class Action Park
    The movie's just pure fun; a cock-eyed Valentine to a place so outrageous that death or dismemberment was an actual acceptable risk — but so was the chance to live, as one former security guard fondly recalls, in “an ‘80s movie that was real life. And it will never happen again.”
  84. Luca
    The story's bright swirl of Pixar pixie dust, jangle soundtrack, and gentle lessons on accepting otherness and learning to move past fear feel like a temporary passport: a sweetly soulful all-ages dip in la dolce vita.
  85. David Byrne’s American Utopia
    Lee's hand in all this seems to be a light one; aside from his intimate but unobtrusive camerawork, the show appears essentially unaltered from the live performance.
  86. 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. Pillow Talk
    Nominated for five Oscars, Pillow Talk led to two more Day/Hudson collaborations, but this is by far the best.
  88. Supernova
    It's the combined incandescence of the stars at the center of the screen, not the ones meant to be gazed at through telescopes, that carries the movie; its best and truest source of light.
    • 73 Metascore
    • 83 Critic Score
    The Incredible Shrinking Man
    The most unpretentious and poignant sci-fi film of them all.
    • 78 Metascore
    • 83 Critic Score
    Nothing Sacred
    Ben Hecht supplied the cynically amusing script, but the brilliant Lombard makes it fly — wringing laughs from an arsenal of loopy gestures and cacophonous outbursts.
    • 78 Metascore
    • 83 Critic Score
    The Witches
    From scene to scream, The Witches is good mean fun for the whole family.
  92. Jingle Jangle: A Christmas Journey
    In a year short on so many of those things, Jangle feels like finding something sweetly familiar but also new, finally, under the tree.
  93. 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).
  94. Hard Target
    By the time Hard Target reaches its amazing climax, set in a warehouse stocked with surreal Mardi Gras floats, the film has become an incendiary action orgy, as joyously excessive as the grand finale in a fireworks show. Woo puts the thrill back into getting blown away.
    • 63 Metascore
    • 83 Critic Score
    The Man with the Golden Arm
    Though director Otto Preminger’s decision to use an RKO set instead of Chicago locations initially jars, he makes it work, amping up the claustrophobic tension in beautifully choreographed long takes.
  96. The White Tiger
    Gourav is frankly devastating, his face a cracked mask of pain and disbelief. In others he's ruthless, calculating, even cruel. It's the kind of performance that can either make or break a movie like this, and the broad sweep of Tiger, with its cavalcade of outsize themes and incidents, sometimes threatens to overtake him. But through his eyes, Balram's singular story — in all its wild, exuberant improbability — roars to life
  97. Farewell Amor
    Its gentle, understated tone belies Msangi’s careful attention to rhythm and detail, though the simplicity of the plot, particularly in a few mild contrivances, slightly undermines the story’s authenticity.
  98. The Killing of Two Lovers
    With [Crawford's] proud, wounded performance at the center, the film's raw vérité style and unforced naturalism do more than set a mood; in its best moments, it breaks your heart.
  99. Monsoon
    The specificity with which Khaou portrays this beautiful place, evolving beyond its traumatic history but never forgetting it entirely, is what makes Monsoon so piercing.
    • 73 Metascore
    • 83 Critic Score
    Robin and Marian
    The social satire gets precious at times, but Connery (sans hairpiece!) and Hepburn (swathed for the first hour in a nun’s wimple) bring a fervid depth of feeling to their characters’ rekindled courtship.
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