Entertainment Weekly's Scores

Select another publication »
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
view
per page
  1. Battle for Haditha
    Searing, powerful, and morally entangled.
  2. Salt
    Salt knows how to stay one step ahead of you in devious, if jaw-droppingly contrived, ways. The movie is fun, dammit. So who cares, really, if it's trash?
  3. The Hunger Games: Mockingjay - Part 2
    With its political power struggles and prodigious body count, all rendered in a thousand shades of wintry greige, the movie feels less like teen entertainment than a sort of Hunger Games of Thrones.
  4. I Love You Phillip Morris
    It's the beaming movie-star intensity of the complicated comic Carrey in the role of the dominant lover and Obi-Wan Kenobi McGregor as the gentle beloved that makes this unfettered, stranger-than-fiction picture pop.
  5. Pecker
    Watching Pecker, his rickety new comedy about a teenage Baltimore shutterbug, it becomes clear that Waters has grown color-blind to his own sleazo-shock aesthetic.
  6. To All the Boys: Always and Forever
    Cloying though it is, Always and Forever does understand how all-consuming first love can be, how bittersweet graduation, how scary choosing one's own path.
  7. Everything Must Go
    Like Bill Murray and Greg Kinnear before him, this funnyman reveals serious acting chops.
    • 65 Metascore
    • 58 Critic Score
    Amazing Grace
    It's earnest, solemn stuff. The movie sings an old tune -- Albert Finney is the blind minister who wrote the title ditty -- and it leaves the blood unstirred.
  9. A Room for Romeo Brass
    More and more independent filmmakers seem to be cobbling together characters and scenes that have surface hook and flash without organic emotional logic.
  10. One Last Kiss
    A crowd-pleaser in the deepest sense, mixes heartbreak and happiness together until you don't even want to see them apart.
  11. Last Night
    A surreal, elegantly melancholy, and yet witty ensemble story.
  12. Saving Mr. Banks
    Saving Mr. Banks is a wholesomely square film about a wholesomely square film. But damned if its sugar doesn't go down like honey.
  13. Made in Dagenham
    Waving a dubious flag of feminist inclusivity, Cole and screenwriter William Ivory turn cartwheels insisting that girl power, even in the 1960s, trumped class divisions.
  14. The Gingerbread Man
    Branagh, chewing on a plummy Georgia accent, makes the divorced, boozing, and womanizing Magruder a smug yet touchingly vulnerable legal player.
  15. Beauty and the Beast
    It’s fine and funny and sweet and lush and some of the songs are infectious, but I still don’t completely understand why it exists — and why they couldn’t do more with it.
  16. Beautiful Girls
    Directed, with overfondness for the goofy ways of guys, by Ted Demme and written, with overfondness for the sound of guys pontificating about nothing, by Scott Rosenberg.
  17. X-Men: First Class
    McAvoy and Fassbender are a casting triumph. These two have, yes, real star magnetism, both individually and together: They're both cool and intense, suave and unaffected, playful and dead serious about their grand comic-book work.
    • 65 Metascore
    • 50 Critic Score
    The Confirmation
    The Confirmation becomes a string of father-son misadventures that lack memorable characters or engaging dialogue.
  19. The Prince of Tides
    The difference between The Prince of Tides and a movie like Ordinary People is that Streisand isn’t content with exploring human pain. She had to make it glamorous, too.
  20. Oscar and Lucinda
    It exchanges the narrative fluidity of the page for visual composition of such strong beauty that the slowness of the storytelling becomes its own eccentric strength.
  21. Alien: Covenant
    Gross-outs and gotchas are fun, but they wouldn’t amount to much if Covenant wasn’t so thoroughly well-crafted.
  22. Monsters University
    Speaking of second chances, Monsters University is exactly the rebound Pixar needed after 2011's "Cars 2" left some wondering if the studio had lost its magic.
    • 65 Metascore
    • 75 Reviewed by
      Ty Burr
    School Ties
    In illuminating how upper-class bigotry can encompass both the actively fascist and the politely passive, School Ties is actually one of the more realistic — and least insufferable — entries in the recent prep-school genre.
  24. Deadpool
    It doesn’t have the most adrenalized action sequences or the deepest origin story. What it has is the balls to mess with the formula and have some naughty, hard-R fun. It’s a superhero film for the wiseasses shooting spitballs in the back of the school bus.
  25. Maxed Out: Hard Times, Easy Credit and the Era of Predatory Lenders
    Maxed Out, while occasionally muddled in its financial details, presents a more-accurate-than-not vision of a nation that is starting to look like a candidate for rehab, on both an individual and a national level, for its addiction to debt.
  26. The Courier
    Ironbark might not be a great film in the end, but it is a satisfying good one — a story that’s at its best when it colors outside the black and white (or Communist red, as it were) lines of war and hones in on the real, fallible men and women who fight it, one quiet inglorious step at a time.
  27. Men
    More disappointing, maybe, is how much the story takes Buckley's agency away as it goes on, her defiant, sharply defined presence in the first hour giving way to the bog-standard helplessness of every woman trapped in a horror movie. Men's eerie, encompassing mood lingers; the rest is a mystery.
  28. The Horse Whisperer
    All the nuggets of spoken wisdom rattle around with a tad too much space and (at 2 1/2 hours plus) too much length.
  29. The LEGO Movie 2: The Second Part
    As entertaining as The Lego Movie 2 ends up being — and let’s be clear, it’s still better than 99 percent of its competition — there’s something missing: that white-hot spark of insane creativity and out-of-the-box novelty that made the first Lego Movie such an unexpected, revolutionary surprise. Everything is still awesome. Just a little bit less so.
  30. The Disappearance of Alice Creed
    A brutally monotonous thriller.
  31. The Matador
    The cinematography is consistently hipster handsome, the script is bracing in its lewdness, and Brosnan adds no unnecessary weight to Noble's meaninglessness.
    • 65 Metascore
    • 75 Critic Score
    Maudie
    Like one of the many flowers Maud painted in the single-room, seaside shack she and Everett shared, Maudie is breezy and digestible. On an aesthetic level, Maud’s creations aren’t that interesting, but Maudie cherishes the intent of the artist above all, acknowledging that a true work of art is often found in exploring why the brush is moved in the first place.
  33. The Town Is Quiet
    It doesn't quite wash. Guédiguian has a telling instinct for the buried shame of working-class squalor, but his film is inflated with a doom that feels programmatic rather than earned.
  34. Dick
    A gaily funny, shrewdly inventive satire.
  35. Pola X
    There's only one Carax, uncompromisingly ambiguous.
  36. Panic Room
    Soon enough a pointed ode to New York City nerve-rack and survival skills dissolves into a far more average, less compelling, and sometimes just slapdash-vicious cat-and-mouse game.
    • 65 Metascore
    • 83 Critic Score
    Easy Virtue
    The courtroom scene that opens the movie is both exciting and technically marvelous, cleverly integrating flashbacks to clearly communicate the misfortune the main character has endured. The domestic melodrama that follows isn't as flashy or fast-paced, but it's perfectly fine, highlighting the cruelty of the wealthy class.
  38. Bad News Bears
    New-era losers (the cast is a cheery scrum of relaxed kids, led by genuine whiz pitcher Sammi Kane Kraft in the role created by Tatum O'Neal) now include a rotten kid in a wheelchair.
  39. High-Rise
    There are certain movies that you really want to like based on their ambition, or their weirdness, or their ambitious weirdness, and ultimately you just can’t. Ben Wheatley’s High-Rise is one of those movies.
  40. Timecode
    A voyeur's delight.
    • 65 Metascore
    • 91 Critic Score
    The Boys in the Band
    This heavy-handed relic of a self-loathing time proves surprisingly relevant — not to mention funny, disturbing, and deeply moving.
  42. Miss Americana
    You wish you’d seen more of this Taylor a long time ago. But that’s the point of the whole movie, maybe: She was always there; it just took her 30 years to get to here.
    • 65 Metascore
    • 33 Critic Score
    Mortal Thoughts
    Directed by Alan Rudolph (Choose Me), this tedious film, rife with flashbacks and slow-motion sequences that underscore the already overbearing plot and exaggerated characters, fails both as a mystery and as a statement on marital violence.
  44. Wild Grass
    Wild Grass is itself odd stuff: Sometimes it's as playful as Marguerite's crayon-red corona of frizzy hair, and other times as autumnal as the sight of Georges alone in his study, feeling stuck.
  45. Twisters
    There's a ton of technobabble that you have to take on faith, but Jones and Powell do more than sell it; they make it compelling.
  46. Dan in Real Life
    A nimble and supple and moving comedy.
  47. Get Him to the Greek
    A clever rock-world satire, with some lively take-offs on the TMZ-gossip magazine circus, but it's also too long, and by the time of the inevitable Las Vegas sequence, it starts to grow repetitive.
  48. The Powerpuff Girls
    The three kindergarteners make up for their lack of irony with laser-power eyes, radical post-post-postfeminist blithe confidence, and some of the coolest retro-futuristic animation style this side of Gerald McBoing-Boing.
  49. The Art of Self-Defense
    In the final third, as the plot accelerates and moves toward more purely outrageous acts, Casey’s awakening should feel like freedom from the stultifying smallness of his old life. Instead, it mostly just feels like another kind of box, and an ugly one, too; less artful, all offense.
  50. Saving Face
    The writer-director, Alice Wu, fudges a lot of the basics -- I never believed the heroine was really a physician -- but the final, proudly public girl-on-girl smooch still jerks a tear.
  51. Cadillac Records
    It's an enjoyable ramble, with a feel for what made the early days of rock as wild as any that followed.
  52. Ali
    For everything it gets right, Ali, following its superb first hour, begins to lose the vision, clarity, and structure necessary to bring its hero into full focus.
  53. Twelve and Holding
    The young cast is terrific, giving the stories unearned weight.
  54. Crooklyn
    Crooklyn has a warm, nostalgic, spilling-over-the-edges effusiveness that is new to Lee's work. At the same time, the movie often seems every bit as high-strung as the family it's about.
  55. 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.
  56. Magazine Dreams
    Even as the pacing falters, Majors is impossible to look away from: a man who desperately needs the world to see him — and if they refuse, to feel his pain.
  57. Clerks II
    An agreeable mischievous romp.
  58. Tetro
    Like Orson Welles, Francis Ford Coppola has gone from being the filmmaker of his time to becoming a make-it-up-as-you-go-along indie free-shooter.
  59. Unknown White Male
    Unknown White Male is framed as a look at the mystery of identity, but there's a bizarre neutrality to the movie, since it makes Bruce's life just as detached and remote to us as it seems to him.
  60. The Black Phone
    Blunt but brutally effective little slice of supernatural horror.
  61. Coco Before Chanel
    Tautou is a fascinating, unsmiling, petite presence with a severe brow and an androgynous appeal, so much so that I wish Alessandro Nivola (Junebug) were a more robust beau as Arthur ''Boy'' Capel, the love of Chanel's life.
  62. Find Me Guilty
    A sharp-looking Mob drama with a gooey moral center.
  63. Telling Lies in America
    Kevin Bacon's passionate, sharply drawn portrayal of Billy Magic, a slick, finger-snapping, payola-pocketing disc jockey in early 1960s Cleveland, is the best thing about this conventional but heartfelt semiautobiographical coming-of-age story
  64. In the Fade
    In the Fade is a flawed filmgoing experience, but still a viscerally affecting one.
  65. Seven
    This homicide thriller has a tantalizingly morbid atmosphere of unease.
  66. The Tango Lesson
    The Tango Lesson is about as far away from Al Pacino’s Scent of a Woman hotdogging as you can get; it really is about the scent of a woman, in all her fascinating peculiarity.
  67. Walk on Water
    At times too movieish, yet Ashkenazi creates a memorable figure: a spy who operates - admirably - out of the most unyielding nationalist conviction, only to learn that he needs to let some of that conviction go.
  68. Grazia's Island
    For all Golino's comeliness, she's upstaged by the windy beauty of the landscape, and by Crialese's attention -- in an Italian neorealist way -- to the routines of daily life in an insular, traditional culture.
  69. Sex and Lucia
    A truly titillating and truly convoluted tale of l'amour fou. Perhaps the American remake could be titled ''Hot Fudge Ripple Sky.''
  70. Sleepy Hollow
    Little more than a lavish, art-directed slasher movie.
  71. Darkman
    Darkman is a thrillingly demented pop spectacular: a grade-B movie made by a grade-A lunatic.
  72. Vincent & Theo
    Vincent & Theo looks and feels like a half-baked PBS drama, and at two hours and 20 minutes the movie is hopelessly plodding. Still, see it for Roth, whose warts-and-all portrait of Van Gogh is an offbeat triumph.
  73. Oliver Twist
    Yet precisely because this is by Roman Polanski, it's irresistible to read his sorrowful and seemingly classical take, from a filmmaker known as much for the schisms in his personal history as for the lurches in his work, as something much more personal and poignant.
  74. Hostiles
    Westerns can be a tough nut to crack, but Hostiles may be the finest example of the genre since "Unforgiven."
  75. Coherence
    The wordy end product may be short on demons and murderous droids, yet Coherence is a satisfying and chilling addition to the ever-growing pal-ocalypse subgenre.
  76. 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.
  77. Come Sunday
    Ejiofor’s performance make the movie; the rest, you may just have to take on faith.
  78. Soapdish
    Soapdish makes the tackiness of soap operas seem far more desperate than funny.
  79. Cargo
    The Australian setting brings a fresh, and epic, quality to this now done-to-death genre, and the directors introduce a few nice new kinks to the zombie mythology, notably a desire on the part of the undead to literally — and hauntingly — bury their heads in the sand. But the real treat is Freeman.
  80. Hanna
    Hanna's intriguing, disorienting pleasures - the movie is part poetic dreamscape, part sinister spy saga - lie more in the filmmaking flourishes than in the narrative.
  81. Pacific Rim
    In a sense, Pacific Rim winds up being not enough of a Guillermo del Toro movie. It's more like a mash-up of "Real Steel" and the "Transformers" pictures. Which is a shame, because the idea is undeniably cool.
  82. Night Catches Us
    Writer-director Tanya Hamilton's intellectually ambitious debut drama Night Catches Us is all the more notable for setting well-drawn fictional characters in a fraught, real moment in civil rights history.
  83. The Warrior
    Asif Kapadia's blazing feature debut, a gorgeously photographed saga with a fine sense of the way place shapes personality, has won numerous awards in the filmmaker's native Britain.
  84. L'Auberge Espagnole
    The atmosphere of gentle communal chaos is authentic enough to become the movie's dramatic center.
  85. We Were Soldiers
    The writer-director bestows honor -- generously, apolitically -- not only on the dead and still living American veterans who fought in Ia Drang, but also on their families, on their Vietnamese adversaries, and on the families of their adversaries too.
  86. Red Flag
    It's conventional stuff, only executed with a smart, improv-y verve.
  87. The Autopsy of Jane Doe
    The Autopsy of Jane Doe is essentially a 90-minute episode of Jack Klugman’s late-’70s TV show "Quincy, M.E." with more graphic gore, goo, and guts.
  88. Harry Potter and the Deathly Hallows: Part I
    Harry Potter and the Deathly Hallows - Part 1 also bravely faces the future, slipping with expert ease among the thrilling mass of complications (and complicated set pieces) that Rowling throws fans in the final sprint, then guiding the faithful to the fate that awaits everyone in this world, the moment called The End.
  89. GoldenEye
    Still, just about everything in Goldeneye, from its rote nuclear-weapon-in-space plot to the recitation of lines that sound like they're being read off stone tablets (''Shaken, not stirred!''), has been served up with a thirdhand generic competence that's more wearying than it is exhilarating.
  90. The Fantastic Four: First Steps
    From its Saul Bass-inspired opening credits to its callbacks to Saturday morning superhero cartoons, it practically vibrates with its sense of time and place.
  91. Black '47
    Despite its Irish setting, Black ’47 feels more than anything like an American Western, what with its shades-of-grey morality and almost Biblical quest for payback. Like Clint Eastwood’s Bill Munny in "Unforgiven" or John Wayne’s Ethan Edwards in "The Searchers," Martin is a silent avenger pushed to do things he doesn’t want to do but also can’t ignore.
  92. Down in the Valley
    As long as Norton plays Harlan as a modern-day Joe Buck, a kind of four-in-the-afternoon cowboy, we're drawn by his waltz of innocence and vagueness. But Down in the Valley turns out to be one of those films with a thick, gummy overlay of Western ''mythology.''
  93. In a Better World
    A fine example of Danish filmmaker Susanne Bier's (Brothers) talent for weaving together accessible domestic melodrama and issues of ethical awareness of the world beyond our doorstep.
  94. Point and Shoot
    His film is an essential, fascinating critique—and product—of our ''look at me'' culture.
  95. James' Journey to Jerusalem
    You'd think that the film would ask you to be appalled at this scenario of forced servitude -- but no, it's treated as harmless and cute, like an Israeli ''Chico and the Man.''
  96. Close to Home
    One of the rare movies from Israel that refuses to spell out its politics, and you may wind up grateful for the ambiguity.
  97. Outrage
    The movie excoriates the hypocrisy of self-hating gay lawmakers (several of whom it outs), yet it also explores the burden of the public closet.
  98. The Pillow Book
    I can't say that I've ever entertained fantasies of writing on someone's body. But Peter Greenaway's The Pillow Book (Cinepix) does, at least, succeed in making it look like an erotic activity.
  99. Comic-Con Episode IV: A Fan's Hope
    He (Spurlock) takes Comic-Con seriously. He talks to Kevin Smith, Harry Knowles, and other famous grown-up geeks, but mostly he follows a handful of people whose dream it is to pass through the fan/professional looking glass and carve out a place for themselves in the industry of fantasy.
  100. The Way
    There's a contemplative loveliness to The Way, an affecting personal project both for Emilio Estevez, who wrote, directed, and plays a small role, and for his father, Martin Sheen.
Page:

Top Trailers

See all »
See all trailers »