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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    • 69 Metascore
    • 83 Critic Score
    Young Man with a Horn
    (Doris Day) is quietly touching in Young Man With a Horn as a singer pining for Kirk Douglas’ tortured trumpeter.
  2. Billie Eilish: The World's a Little Blurry
    As her success spikes exponentially, so does the film's momentum, shifting toward the more familiar touchstones of a traditional music doc: The smear of foreign cities seen through a town-car window; the endless roundelay of interviews, meet-and-greets, and promo signings.
  3. Furiosa: A Mad Max Saga
    Furiosa can’t possibly be as mind-blowing as its predecessor, but it does allow us to spend a little more time in this world and Miller’s mind. No other working action filmmaker sees the world the way he does.
    • 54 Metascore
    • 83 Critic Score
    So I Married an Axe Murderer
    As an evening’s rental, it provides an embarrassment of silly riches. Travis is unstoppably charming, and well-integrated comic cameos by Alan Arkin, Phil Hartman, and Steven Wright keep things chugging.
  5. 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.
  6. Summer of Soul (...Or, When the Revolution Could Not Be Televised)
    The interviews are their own historical document, though it's the visceral thrill of being inside all those archival clips — the flick of Simone's wrist, an ecstatic face in the crowd — that makes Summer of Soul comes most fully alive, somehow both as fresh as yesterday and as far away as the moon.
  7. Misha and the Wolves
    The insights of the doc don't reverberate far beyond the story it's telling. But oh, what a story.
  8. Together Together
    A wry low-key dramedy that lands with surprising sweetness.
  9. Operation Varsity Blues: The College Admissions Scandal
    Most illuminating are the various journalists, attorneys, witnesses, and admissions counselors who testify to the case
  10. Avalon
    When Levinson leaves the older generation behind and concentrates on his immediate family, Avalon becomes suffused with the thrill and anxiety of young, postwar Americans approaching life in a way that’s so new it feels like science fiction.
  11. Gas Food Lodging
    Gas Food Lodging is really about the same thing Thelma & Louise was about: It’s a portrait of working-class women betrayed and abandoned by men. Yet I vastly preferred this movie’s generous and buoyant tone.
  12. Heavenly Creatures
    If the pleaures of Heavenly Creatures remain defiantly on the surface, on that level the movie is a dazzler.
  13. Of Mice and Men
    Lyrical, stirring, and beautifully acted — a seamless adaptation of a novel many will recall with almost too much familiarity.
  14. Guardians of the Galaxy Vol. 3
    The MCU has been stumbling a bit since it bid goodbye to Captain America and Iron Man, and by reuniting us with characters we've known and loved for years, GotG 3 marks a welcome pivot from a recent run of unimpressive experiments and disappointing debuts. It'll be a long time, if ever, before we feel this kind of emotional payoff from this franchise again.
  15. Red Rocket
    Rocket is leisurely episodic and at over two hours, almost certainly longer than it needs to be, but the director's singular gift for street casting — beyond Rex, hardly anyone here has acted professionally before — and deeply embedded sense of mood works its own kind of unhurried alchemy.
  16. Lamb
    The movie's stark Nordic mood and obscure mystery are as coolly immersive as nearly anything on screen this year — and in the hammy world of supernatural horror, that ambiguity alone feels like a small, spooky gift.
  17. Titane
    In an era when nearly everything that can be done on film already has been, Titane forges something sensational from nerve and pure metal, and makes it new.
  18. The Meaning of Life
    It’s tough to find the meaning in much of the craziness on display here, let alone the meaning of all human existence as the title promises, but you will find a whole lot of exquisite nonsense.
  19. Bullet Train
    Leitch embarks on a series of adrenalized set pieces that defy logic and physics so breezily that its relentless, ridiculous violence plays more like a winsome ballet.
    • 58 Metascore
    • 83 Critic Score
    Help!
    The music (including Ticket to Ride) is wonderful and the European scenery an eyeful, but this is ultimately a movie starring the Beatles rather than a Beatles movie, and there’s a big difference.
  21. Val
    The result is undoubtedly a canny mediation on the vagaries of fame, but it feels more intimate and essential than that: a lifetime of searching and self-regard distilled, somehow, into a state of grace.
  22. 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.
  23. Turning Red
    In the tricky world of tween-dom, it captures something sweetly universal: Growing up is messy, no matter how you bear it.
  24. Nope
    Peele has never leaned this close to early Spielberg (or if you're feeling less charitable, mid-period M. Night Shyamalan).
    • 67 Metascore
    • 83 Critic Score
    Deep Cover
    A gripping, often raw, action thriller.
  26. Happening
    There's a sneaky cumulative power to the filmmaking, though; if Happening often feels like a punch to the solar plexus, that's exactly what it should be.
  27. The Hand of God
    There are more cohesive coming-of-age movies to be sure, and subtler ones. But God doesn't really try too hard to make it all make sense; it's just one boy's dolce vita, drenched in Mediterranean sun, hormones, and salt air.
  28. Western
    The two are unlikely compadres — no Hope and Crosby, just a couple of average guys walking, talking, and looking for the love of good women. But Poirier establishes an attractive, believable friendship between the immigrants.
  29. Mad God
    For anyone who loves stop-motion animation, the first 40 minutes of this bleak adventure will scratch your trippy itch and then some.
  30. Cyrano
    The real draw is Dinklage: with his mournful eyes and crooked smile, he's the tender, towering soul of Cyrano.
    • 64 Metascore
    • 83 Critic Score
    Trauma
    Never a terribly coherent storyteller, here the gorehound’s Godard dispenses almost entirely with the plot development. Instead, Argento concentrates on mood, and, making terrific use of various run-down Minneapolis locations, he succeeds in giving Trauma the feel of a waking nightmare
    • 74 Metascore
    • 83 Critic Score
    The Body Snatcher
    The movie has those unmistakable, shiver-inducing touches Lewton (Cat People) is famous for: a loyal little dog refusing to leave the site of its master’s fresh grave, a blind singer’s song suddenly and shockingly stopping offscreen, and the surprise of that final coach ride.
    • 34 Metascore
    • 83 Critic Score
    Street Fighter
    As the mercenary in charge of liberating hostages from the megalomaniacal General Bison (Julia), Jean-Claude Van Damme finds a showcase for his comic skills in Street Fighter.
    • 61 Metascore
    • 83 Critic Score
    Blue Beetle
    Blue Beetle never loses sight of the community it seeks to honor, not once pandering nor offering surface-level representation of what it means to be Latino. Latinidad is complex — it's more than where you were born, what language you speak, or what food you eat. But one thing it's full of is heart, and Blue Beetle has plenty of that to go around. Animo!
  35. Speak No Evil
    Pay no attention to the shades of late-night cable in the title; Speak No Evil is a lamentably generic name for a movie as stark and unsettling as Christian Tafdrup's queasy, inexorable thriller.
  36. A Quiet Place: Day One
    As with the others in the series, this is not an upbeat picture, but it is effective and unsettling without being too gory.
  37. Cha Cha Real Smooth
    Cha Cha feels like both a fitting showcase for a young auteur like Raiff and a larger marker of how much movie masculinity has evolved: a real-smooth manifesto for the anti-toxic man.
  38. Good Luck to You, Leo Grande
    Thompson is, unsurprisingly, a force: alternately brittle and vulnerable and mordantly witty, her whole body vibrating with a lifetime's worth of sublimated desire.
  39. 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.
  40. Emily the Criminal
    Ford imbues his story with a tense, vibrating energy, moving briskly between the breathlessness of a heist thriller and the sharper barbs of social satire.
  41. Honk for Jesus. Save Your Soul.
    Honk for Jesus shares a lot of Tammy Faye's small-screen feel and sense for winky episodic comedy; like that movie too, it's held together by the tensile strength of the petite, bedazzled female at its center. Awards-season gold probably won't strike twice in a row for pastor's wives, but Hall deserves some kind of prize for the soul she pours into this part.
  42. Something in the Dirt
    Doubling down on COVID-era listlessness and QAnon paranoia, the impressively fidgety, crammed-to-bursting Something in the Dirt ends up with something like: Please let my life make sense. It's an understandable wish in an uncertain moment.
  43. Navalny
    Navalny has a bracing, heart-racing story to tell, even as the improbable facts rush past. But it never fails to focus on the human man: funny, prickly, and unimaginably brave, down to the last defiant frame.
  44. Nothing Compares
    As an intimate, often infuriating portrait of an artist and era, it's hard to argue with the raw power of the story on screen — and the timeliness of it too, no matter how long overdue.
  45. Father of the Bride
    The screenplay, by Matt Lopez, leans bright and broad, but there are sweetly specific moments scattered throughout, from a whisper-fight over dominoes at the local social club to the frequent snatches of Spanish woven into the dialogue.
  46. Metal Lords
    The story belongs to its young cast, and Lords' ramshackle comedy sweetly captures the rank anxiety, random humiliations, and undiluted hope of being young.
  47. Bodies Bodies Bodies
    Depending on your demographic, Bodies will probably either make you feel seen or utterly obsolete. But it's also just straight-up fun: a black-hearted comedy of manners meets contemporary social nightmare, written in blood and vape smoke.
  48. The Fabelmans
    Because it's Spielberg, it's all beautifully, meticulously rendered, and not a little glazed in wistful sentiment: an infinitely tender, sometimes misty ode to the people who raised him and the singular passion for cinema that shaped him.
    • 72 Metascore
    • 83 Critic Score
    Kiss of Death
    The movie’s streetwise screenwriter, Richard Price, knows characters like this do exist — but only an actor like Cage can bring them off.
  50. Mississippi Masala
    As long as Nair follows the two characters’ romantic moves or details the lives of their families (whose contrasting status on the ethnic-minority ladder marks them as both rivals and uneasy comrades), the movie is funny, observant, and deeply humane.
  51. The Menu
    The movie loses some momentum in the final third, and tends to over-egg its caricatures of all these platinum-card fools and clueless masters of the universe. But its appetite for destruction is also too much fun in the end to refuse: a giddy little amuse bouche for the apocalypse to come.
  52. Triangle of Sadness
    Triangle hits more marks than it misses, and in a somber, often underwhelming season of would-be arthouse hits, the movie is a bona-fide trip: not the funhouse mirror we need for these ridiculous times, maybe, but one we deserve.
  53. Catherine Called Birdy
    A sly fairytale about a medieval tween that manages to be both cheeky and modern without losing its heart.
  54. 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.
  55. La Cage aux Folles
    Like many of the best farces, from The Importance of Being Earnest to Cactus Flower, it draws its humor from characters pretending to be something they’re not.
  56. Glass Onion: A Knives Out Mystery
    Glass Onion doesn't feel like a movie that's meant, really, to be peeled. It's here strictly to dazzle you with money and murder and famous-people pandemonium, then sharpen its knives for the next installment.
  57. Spoiler Alert
    Anchored by the ridiculously charming Aldridge's chemistry with Parsons (distant but effective in comparison), Spoiler Alert defies expectations throughout, refusing to adhere to one genre or storytelling convention.
    • 73 Metascore
    • 83 Critic Score
    Slam
    Directed and cowritten by Marc Levin with an intentionally untidy, restless, handheld style that owes a lot to his background as a documentary filmmaker, Slam effectively gets at the deadly, no-way-out despair that can squeeze a man as he realizes he’s become a numbered nobody in the huge, imperfect justice system. Levin’s best idea, though, is to counterbalance that hopelessness with freeing blasts of verse, performed with such drama and passion that audiences may want to break into applause.
  59. Set It Off
    Enough does work, and well, to make Set It Off a valuable model for a new kind of girl-pack story: one that’s not just for girls.
  60. Ant-Man and the Wasp: Quantumania
    At just over 120 minutes, though — a blink in Marvel time — this Ant-Man is clever enough to be fun, and wise enough not overstay its welcome. Who better understands the benefits, after all, of keeping it small?
  61. Bones and All
    Take away the people-eating, and it could almost be a Springsteen song. Which often makes it feel, in a strange way, like Guadagnino's most traditional film to date — a born provocateur's faithful ode to a classic cinematic genre, only with human gristle between its teeth.
    • 70 Metascore
    • 83 Critic Score
    The Swan Princess
    With its modern sensibility and a visual look beautifully steeped in tradition, The Swan Princess takes a well-deserved place in the circle of animation.
  63. One Fine Day
    Clooney proves himself to be a true movie star and romantic leading man. His charm, his energy, even his ease with children (one of any adult actor’s most terrifying challenges) carry One Fine Day into irresistibility.
  64. Empire of Light
    Colman, her eyes darting between hope and devastation, is so lit-up and specific (and funny, a quality that doesn't seem to get mentioned enough) that she lifts nearly every scene.
    • 45 Metascore
    • 83 Critic Score
    My Summer Story
    Imagine Garrison Keillor narrating a series of Norman Rockwell paintings and you’ll have a very good idea of what My Summer Story is all about. Nostalgic and gently humorous, this sequel to 1983’s A Christmas Story continues the adventures of Ralph Parker in the prepubescent universe of bullies, parents, best friends, and no girls.
  66. The Good Nurse
    It feels like a faint insult to say that The Good Nurse could be a premium-cable product from long ago, one of those lightly prestige-y Sunday-night movies Showtime or HBO used to make. But it's also one crafted with sturdy, consummate skill, burnished by two Oscar winners who don't stint on their performances just because most people will end up seeing Nurse on a small screen.
  67. Wendell & Wild
    You'll forgive the movie its cluttered shagginess because its universe is so strange — even an icy puddle is rendered exquisitely.
  68. Women Talking
    There's a deep vein of humor and humanity that Polley and her actors mine from the text, and something quietly mesmerizing in their meticulous world-building.
  69. Louis Armstrong's Black & Blues
    A global celebrity during America's earliest conversations about civil rights, Armstrong preferred to keep his dissatisfactions to himself, becoming a symbol of change rather than a spokesperson of it. That tension comes to vivid life in Jenkins's worthy account, sure to be appreciated by those who come in on solid footing
  70. Lady Chatterley's Lover
    An unabashedly heady romance, rich in pretty costumes — when they're wearing them — and lush, lusty atmosphere.
  71. Snow White
    That balance of giving the audience the story they know so well but with just the right amount of newness and unpredictability is the true magic of Webb's Snow White.
  72. Missing
    Directors Nick Johnson and Will Merrick sometimes strain the credulity of what shooting in-screen can do — June's laptop camera does a lot of heavy lifting — but the movie rarely feels forced or claustrophobic; it's just a whizzing, cannily of-the-moment spin on a familiar genre, reupped for the Genius Bar age.
  73. Wild Bill
    Wild Bill succeeds as a character study of a man whose idiosyncratic code of justice eventually catches up with him. Bridges’ performance is a masterstroke of squinty-eyed bitterness, and he gets colorful support from Ellen Barkin (as kitten with a whip Calamity Jane) and John Hurt (as a dissipated British dandy).
  74. Sr.
    There's something lovely and quietly profound about where the film finds itself in the end: a generational love story that transcends old wounds and misadventures, and even, in its tender final moments, death itself.
    • 80 Metascore
    • 83 Critic Score
    The Train
    One of director John Frankenheimer’s best nail-biters of the ’60s, a gritty, realistic war flick in which Burt Lancaster and a host of terrific French character actors try to keep an obsessed Nazi colonel (Paul Scofield) from shipping a bunch of plundered masterpieces to Germany.
  76. 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.
  77. Sharper
    It's easy to lose count of the double and triple crosses in Sharper, a silly and unabashedly camp thriller that is, frankly, exactly the kind of sleek, shenanigan-y frolic that bleak midwinter calls for.
    • 63 Metascore
    • 83 Critic Score
    They All Laughed
    They All Laughed, Peter Bogdanovich’s quiet romantic comedy about two Manhattan detectives (Gazzara, Ritter) following, and falling for, their subjects (Hepburn, Stratten), was unfairly overshadowed when Stratten, in 1980 (after filming had wrapped), was murdered by her estranged husband.
  79. Adult Swim Yule Log
    You'll not find a more bodacious bonanza of sheer WTFery than the last twenty minutes, which crosscut realities and timelines while doing truly disgusting things with pimento cheese.
  80. Quo Vadis
    Golden era MGM takes on Christ! The lavish story of Roman-Christian conflict was universally loved, thanks to star turns by Robert Taylor, Deborah Kerr, and supporting players Peter Ustinov and Leo Genn.
  81. Don't Bother to Knock
    Don't Bother to Knock was the first film to truly grant her a juicy dramatic leading role, one that allowed Monroe to tap into her own childhood traumas and abuse.
  82. The Edge
    Tamahori proves that he can shape a studio picture effectively to his specs; his action sense is as personal as his screenwriter’s. As for Hopkins and Baldwin, the well-matched actors grab their parts with disciplined ferocity.
    • 74 Metascore
    • 83 Critic Score
    Calamity Jane
    [Day] is dizzyingly kinetic (and funny) as Calamity Jane‘s tomboy cowgirl.
  84. Nimona
    Nimona is an incredibly fun character who is animated very expressively even in her regular human-ish form, and energetically voiced by Moretz, but by the tropes of Arthurian-style romances, she could only be classified as a "monster." The story admiringly delves into how such monsters are in fact created by a society that refuses to accept their differences.
  85. Anatomy of a Fall
    Films (and novels) are meant to reflect our lives back to us, to hold up a mirror and give us a way to engage with the more thorny issues of our existence via storytelling. Triet is both inviting us to do that with Anatomy of a Fall and warning against putting too much stock in the stories we read and tell ourselves (or is she?).
    • 80 Metascore
    • 83 Critic Score
    The Public Enemy
    In William Wellman’s The Public Enemy, Cagney’s tommy-gun delivery and dancer’s grace make underworld life seductively enthralling.
  87. Maestro
    This is not a movie made for second-screen viewing; anyone glimpsing at their phone for even a moment may miss a key character moment or plot detail that is conveyed visually. It will be best to see in a theater during whatever release window Netflix provides — but even when viewed at home, Maestro deserves the same level of respect from viewers as one of Bernstein's public performances of the music of Mahler.
  88. Anora
    In Madison, Baker has found a perfect conduit for his ideals, making Anora a culmination of the themes that have dominated his work for years.
  89. Love Lies Bleeding
    It’s a brutal, bloody, and discombobulating ride, but boy, is it a blast.
  90. The Idea of You
    It’s clear those behind The Idea of You hold a genuine affection and care for the story, rather than the ironic eye that a book like this could so easily invite from a lesser team.
  91. The Substance
    While it is so over-the-top as to verge on camp, it is also a chillingly pointed expression of the madness that ensues in pursuit of impossible standards — and the self-loathing and hatred that emerges when women are pitted against each other and themselves.
  92. This Is Me…Now: A Love Story
    Who among us comes to a J.Lo joint just for the music? She is more than a pop star, an actress, a fragrance mogul — Jennifer Lopez is spectacle. Then, now, and always.
  93. Freaky Tales
    It’s a hyperspecific vision of the Bay that won’t connect with everyone, and in truth, Freaky Tales seems destined to be more of a cult favorite than a genre-hopping blockbuster. But even with all the psychic energy and violent revenge fantasies, it’s the performances that help keep this tale grounded.
  94. A Real Pain
    A film that grapples with the legacy of the Holocaust doesn’t exactly make for automatic comedy, but Eisenberg deftly juggles the film’s shifting tones, evoking real laughs in some scenes while maintaining a somber respect in others.
  95. Thelma
    Not every gag lands, but Thelma is the rare spoof that’s both laugh-out-loud funny and disarmingly sweet.
  96. The Room Next Door
    Even with its preoccupation with death, The Room Next Door is not a dour film. In fact, it’s rather optimistic, celebrating the beauties of life and meaningful connection in the face of death with a thoughtful, pensive tone.
  97. Alien: Romulus
    It's got the thrills, it's got the creepy-crawlies, and it's got just enough plot to make you care about the characters. Alien: Romulus is a hell of a night out at the movies.
  98. Trap
    I'd place it more alongside the enjoyable The Visit or Split, and, indeed, there are some story commonalities with both. It is, however, masterfully shot, with great use of wide angles, cropped frames, and a sense of foreboding inside and around the concert venue.
  99. The Apprentice
    The Apprentice encapsulates the American Dream, revealing all the ways in which it can be subverted into a nightmare.
    • 78 Metascore
    • 83 Critic Score
    All That Heaven Allows
    Boiling over with heated acting and schmaltzy scores, Douglas Sirk’s ’50s melodramas tap neatly into our collective trash psyche.
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