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. Gladiator
    What matters for today's hero is the good fight, and Gladiator KOs us with a doozy.
  2. Moon
    The double role suits Rockwell perfectly -- in fact, it suits him a little too well.
    • 67 Metascore
    • 67 Critic Score
    The Sentinel
    Salinger’s a rather wan screen presence, and the film’s both overlong and undercooked; but the head, frequently seen in lingering close-up, is so realistically gruesome that you wind up transfixed anyhow.
  4. Forgetting Sarah Marshall
    Nakedness has rarely looked so...naked. And innately, universally comic.
    • 67 Metascore
    • 83 Critic Score
    Bottle Rocket
    The title refers to cheap fireworks that fizz before they flame out quietly, and that's what three Southwestern slackers do in this amiable heist movie-cum-road flick.
    • 67 Metascore
    • 75 Critic Score
    The Wild One
    Brando’s tight denims and defiance prefigured James Dean’s archetypal rebellion.
  7. Concrete Cowboy
    Writer-director Ricky Staub brings real-life rhythms and texture to his feature debut by filling the screen with that homegrown scene, and casting several actual riders from the city's Fletcher Street Stables in supporting roles.
  8. Avatar: The Way of Water
    The movie's overt themes of familial love and loss, its impassioned indictments of military colonialism and climate destruction, are like a meaty hand grabbing your collar; it works because they work it.
  9. Snow Angels
    David Gordon Green's captivating winter-chill tragedy, is a tale that encompasses murder, divorce, adultery, alcohol abuse, mental breakdown, and the disappearance of a small child. In other words, it's downbeat enough to make the recent Oscar-nominated films look like party games.
  10. Summer of Sam
    Spike Lee noisily attempts to place the hunt for real-life serial killer David Berkowitz at the center of a hotheaded sociological fantasy linking disco glitz, punk rebellion, ethnic insularity, sexual craving, and sizzling heat into one rattling chain of urban hysteria.
  11. Hush
    Flanagan’s taut direction reinforces his rep as an up-and-comer we will hopefully be hearing much more from.
  12. Other People
    Somehow, almost miraculously, Shannon makes her character become stronger as she gets weaker. It’s a wonderful performance.
  13. Thirteen Days
    A big, square, rousing political thriller docudrama.
  14. Ghosts of the Abyss
    Cameron wants to take the audience ''back to 'Titanic,''' but the journey's magic is hemmed in, paradoxically, by the transcendence of his previous effort; surely he must know that a lot of us never left.
  15. Kung Fu Panda 2
    At times, Kung Fu Panda 2 suggests "Bambi" redone as an episode of Oprah. Yet it's a more-than-worthy sequel.
  16. Robot and Frank
    Robot & Frank is sentimental high-concept fluff that works.
  17. Slither
    There are times (and plenty of them) when Slither slops over from smart, affectionate homage into unmodulated frat goofiness as Gunn cannibalizes so many horror plots with such high spirits.
  18. Vox Lux
    Corbet doesn’t seem as interested in the answers to the provocatively glib questions he raises as he is in creating a cynical riddle cloaked in style. No doubt some will find all of this to be a deep meditation on the pop-industrial complex, but from where I was sitting, it just felt like empty camp.
  19. In Bruges
    Neither star is sloppy, but both are loose and mellow -- a couple of pros who know they're the whole show.
    • 67 Metascore
    • 91 Critic Score
    That's Entertainment, Part II
    The original song-and-dance formula is diluted, however, by a dozen or more comedy scenes (with the Marx Brothers, W.C. Fields, Hepburn and Tracy, Abbott and Costello, and others). But they are so wisely chosen, sharply edited, and outright funny that the overall entertainment level remains high.
  21. Brigsby Bear
    The result is a slight, handcrafted indie that’s sweet, skewed, and feels a bit like a skit stretched out to feature length.
    • 67 Metascore
    • 67 Critic Score
    Secret Agent
    It's pleasant to see a story that highlights the pointless absurdity of war and espionage, although some of the jokes are pretty mean-spirited.
  23. Been Rich All My Life
    Good times and bum times, they've seen it all and they're still here. Lucky us.
  24. 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.
  25. Russian Dolls
    Russian Dolls captures how being a sexual cad has become an essential phase in the life of the modern male.
  26. Bolt
    Bolt breaks no great new stylistic ground -- and yet it's a sturdy beaut.
  27. The Well Digger's Daughter
    The Well-Digger's Daughter pushes a number of nostalgia buttons at once, most of them pleasing.
  28. T2 Trainspotting
    The good news is that the film’s four lead actors all slip seamlessly back into their onscreen alter egos as if they’ve been keeping tabs on them all these years.
  29. This Is the End
    It's the wildest screen comedy in a long time, and also the smartest, the most fearlessly inspired, and the snort-out-loud funniest.
  30. The Door in the Floor
    Everything in the movie -- family demons, May-December sex, the lessons of writing -- ties together with pinpoint precision. That's a pleasure, to be sure, and a limitation, too.
  31. Sound of My Voice
    Sound of My Voice doesn't follow through on everything it sets up, yet it has a hushed and revealing psycho-intensity. It also has an oh-wow Twilight Zone ending that truly made me go, ''Oh, wow.''
  32. Steel City
    Steel City could have used more rhythmic drive, but if Jun keeps weaving together characters this compelling, he could be a major film artist in the making.
  33. Mondovino
    The highest praise I can give to Mondovino is that it makes you want to sample every vintage it shows you.
  34. Fellini: I'm a Born Liar
    It's a messy, entertaining documentary rooted in -- though not limited to -- the iconically indulgent years of Fellini's later career.
  35. Stir of Echoes
    Offers tricky fragmentation without mystery or mood; it's a mosaic of fear that grows less and less unsettling as it comes together.
  36. Fahrenheit 9/11
    Scalding and glib, derisive yet impassioned, Fahrenheit 9/11 is an intensely resonant piece of Bush-bashing, because it lets the president do most of the work.
  37. Die Hard 2
    A number of scenes have been staged with satisfying kinetic flair, and Willis once again makes an appealing superhero. Yet without that great big booby-trapped skyscraper to hold the action together, the suspense dissipates.
  38. Magician: The Astonishing Life and Work of Orson Welles
    Like Welles' butchered cut of "The Magnificent Ambersons," it's fascinating but leaves you hungry for more.
  39. Halloween
    Long live Michael Myers, so maybe someone can finally kill him — in a big, funny, scary, squishy, super-meta sequel that brings it all back to the iconic 1978 original.
  40. Synecdoche, New York
    I gave up making heads or tails of Synecdoche, New York, but I did get one message: The compulsion to stand outside of one's life and observe it to THIS degree isn't the mechanism of art -- it's the structure of psychosis.
  41. Charlie Wilson's War
    It's all about a likable scoundrel who discovers what it means to act out of conviction. The film's underlying twist, though, is tartly ironic.
    • 67 Metascore
    • 91 Critic Score
    Dead Men Don't Wear Plaid
    The vintage footage is seamlessly integrated into the action, and the end result is both very funny and very true to the conventions of the detective movie.
  43. The Armstrong Lie
    It's a fascinating film that points the finger at a charismatic master of deception — as well as our willingness to buy his deceit.
  44. 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.
  45. The Family Fang
    Based on the best-selling 2011 novel, Fang is directed by Bateman with a sensitivity that the story’s sour whimsy doesn’t quite deserve.
  46. 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.
    • 67 Metascore
    • 91 Critic Score
    Reflections in a Golden Eye
    John Huston’s adaptation of Carson McCullers’ gothic novella of sexual repression, set in a Southern Army post, gave Taylor one of her most unusual roles. It’s a restrained, sensual performance with moments of high, if warped, comedy: an example of what a director with an original vision could elicit from her.
  48. 2 Days in Paris
    Delpy wrote and directed this study of a relationship heading (it would seem) for the rocks. She stages it with a funny and diverting improv-y flow.
  49. 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.
  50. Last Days
    There is a method to its madness, since the madness here is really Cobain's. Last Days mythologizes his suicide as a haunting act of fulfillment: the consummation of a life that had already ceased to be.
  51. A Decade Under the Influence
    This documentary about the triumph of the New Hollywood employs a treasure trove of interviews and clips to create a rich understanding of the many forces -- cultural undertows, really -- that flowed together to fill the void left by the dying studio system.
  52. Better Luck Tomorrow
    Lin works with a rhythmic observational flair that outweighs the movie's flaws. It's a long way from Long Duk Dong.
  53. The Business of Strangers
    None of this detracts, however, from the terrific piss-and-merlot performances of Channing and Stiles, or from the committed participation of Frederick Weller as a Neil LaBute-era businessman caught in the lounge between two she-devils disguised as businesswomen.
  54. Young Adam
    The clammy power of Young Adam lies as much in the frank, emotional nakedness the actors bring to their roles under Mackenzie's care as in the baroque hopelessness of the plot.
  55. Finding Neverland
    Depp portrays a fellow who is openly gentle to the core, and the actor just about wraps the movie around his lilting delivery and quiescent gaze.
  56. Haywire
    Haywire cavorts around the world - Barcelona, Dublin, upstate New York, New Mexico - with Bourne-again energy and timeline shuffles, making only cursory attempts at plot coherence
  57. XXY
    It's set at a beach house, but we see only gray skies, and though Efron has a wary and cutting intelligence (it matches that of the fine actor Ricardo Darin, who plays her father), the effect is tepid and damp.
  58. Fresh
    Cave has a smart, stylish way of storytelling that somehow makes a film built on bone saws and grotesqueries feel almost breezy.
  59. Marvin's Room
    The three are so full-bodied and so powerfully affecting that you're carried along on the pleasure of being in the presence of their extraordinary talent.
  60. Meduzot
    Marvelously inventive, often-ironic Israeli storyteller Etgar Keret and his life- and workmate, Shira Geffen, spin in Jellyfish a dreamy, arty, alluringly cockeyed tale involving three unrelated women in Tel Aviv.
  61. 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.
  62. 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.
  63. A Late Quartet
    The title refers not only to particular music by Beethoven but also to the fictional string quartet of Yaron Zilberman's fussily genteel, overplotted Manhattan tale in which interpersonal stresses build to a crescendo when one of the foursome becomes ill.
  64. The SpongeBob SquarePants Movie
    The best moments in his first movie outing are those that feel most TV-like, just another day in the eternally optimistic undersea society.
  65. Lynch
    As skewed, prismatic, and free of fluff as the man himself.
  66. An Affair of Love
    Fonteyne edges closer than most to capturing the mysterious rhythms of liaisons -- pornographique, romantique, and otherwise.
  67. The Flower of Evil
    The discreet stink of the bourgeoisie perfumes the wonderfully mordant, dry-eyed family saga, The Flower of Evil.
  68. Open Range
    There's nothing corny, however, about the climactic shoot-out, which Costner has staged superbly as an extended logistical mini-war that surges and rifle-cracks with bloody abandon through what feels like every building in town. Call it dances with guns.
  69. 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.
  70. The King of Staten Island
    The script, which Davidson co-wrote, is rooted in his own childhood loss; his father, too, was a fireman, killed on 9/11. In its best moments the movie resonates with those realities, though it also comes packaged, like so many Apatow films, in a kind of incurable ramble — some two-plus hours dotted with pleasingly random cameos (Pamela Adlon, Steve Buscemi) and odd tonal shifts.
  71. The Ides of March
    Clooney certainly brings out the best in his actors, but his driving trait as a filmmaker is that he knows what plays - he has an uncanny sense of how to uncork a scene and let it bubble and flow.
  72. Guinevere
    This patient, perceptive, nonjudgmental love story about age difference is the first to convincingly explain the temporal physics of May-December romances.
  73. Tesla
    Amidst all his meta tricks — the winky callouts to Wikipedia, the deliberately kitsch sets and incongruous soundtrack — Tesla’s own story ultimately fades; a small, bright light lost in the bigger spectacle.
  74. A Guide to Recognizing Your Saints
    This gallantly imperfect indie pops with attitude.
    • 67 Metascore
    • 75 Critic Score
    Enemy of the State
    A high-adrenaline, high-concept action thriller that mixes hot-button issues of privacy and surveillance, easy-to-identify good and bad guys, attention-getting stars, and well-choreographed chase scenes.
  76. Poison
    Only one of the episodes, a satirical documentary about the mysterious disappearance of an enraged suburban boy, has much resonance on its own. A part of me wishes that Haynes had sold out after all: What’s truly revolutionary about this filmmaker — his perverse, ironic humanity — is only intermittently on display in this quasi-provocative formalist knickknack.
  77. Lock, Stock and Two Smoking Barrels
    The film's lures, while undeniable, are synthetic, and we never do learn what fuels all the greed besides pints of beer.
  78. The Perks of Being a Wallflower
    The movie is tough-minded: It zeroes in on Patrick's anger at dating a closeted football star, and it doesn't let Charlie off the hook for his cruelty or self-pity.
  79. Lady Chatterley's Lover
    An unabashedly heady romance, rich in pretty costumes — when they're wearing them — and lush, lusty atmosphere.
  80. The Sapphires
    The Sapphires is a movie for your heart (and your ears and moneymaker), not your head.
  81. Garden State
    Certainly Garden State is a very American specimen of debut indie form, its loose, goof-about scenes of comic melancholy reinforced with the glue of quirkiness over cracks in the narrative development.
  82. The Myth of the American Sleepover
    The Myth of the American Sleepover has fresh, lovely moments, but it could have used more psychological heft.
  83. Unforgivable
    In his elliptical and somewhat loopy drama about the slipperiness of love at any age, French filmmaker André Téchiné uses the sight of scudding motorboats on the waterways around workaday Venice as a visual reinforcement of time as a river.
  84. Long Shot
    Not that there’s a ton of competition, but Long Shot may be the most deliriously raunchy comedy with a pivotal semen gag since "There’s Something About Mary."
  85. Freaky
    There's a better, weirder story in here somewhere — about teenage desire and social Darwinism, gender and perception — but the movie seems happy enough to settle for familiar, goofy jokes and jump scares; a freak flag half-flown.
  86. Furious 7
    No one forks over 10 bucks to see one of these flicks for its logic. We go for the bananas demolition-derby mayhem. Furious 7 delivers that with the direct visceral rush of an EpiPen.
  87. 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.
  88. Upgrade
    As a movie, it’s the cinematic equivalent of paint-by-numbers: competent, attractive even, but take a single step closer and the lines peek through. There’s no need to pay money to go see Upgrade: If you select it on a plane and sleep through 60% of it, you’ve seen it in its entirety.
  89. 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.
  90. Brothers of the Head
    A glumly serious British mock rock doc: You could forgive the paucity of jokes if Brothers of the Head had anything to say, or if the '70s-vérité surface were remotely convincing.
  91. Private Parts
    Shaped and softened by producer Ivan Reitman, screenwriters Len Blum and Michael Kalesniko, and director Betty Thomas, however, the movie-star Stern is a defanged tiger, funny but tranquilized.
  92. 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.
  93. Patti Cake$
    It’s festooned with so many triumph-of-the-underdog clichés (including a climax you can see driving down the Garden State Parkway from a mile away), it’s like déja-vu with a breakbeat. The most remarkable thing about the film is how little you’ll actually mind by the end.
  94. Death at a Funeral
    By the end of Death at a Funeral's effortful farce about busted British propriety, you may feel that peculiar facial ache that comes from wishing to laugh with no really satisfying release.
  95. While You Were Sleeping
    Only when you look closer do you realize that While You Were Sleeping exhibits precious few genuine feelings. It's a movie cranked out by machine, about supposedly delightfully idiosyncratic characters who only do what they do because the highly structured plot requires it.
  96. Guardians of the Galaxy Vol. 2
    It’s smarter than most films, but not as smart as the first one. It’s funnier than most films, but not as funny as the first one. And it still probably belongs in the upper tier of Marvel movies but nowhere near as high up as the first one.
  97. Farewell, My Queen
    Benoît Jacquot's film is shackled to a blah bourgeois leftism.
    • 67 Metascore
    • 83 Critic Score
    Deep Cover
    A gripping, often raw, action thriller.
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