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. Storks
    There’s a delightfully madcap pace to Storks, and most of the rapid-fire jokes land.
  2. American Ultra
    Check your brain at the popcorn-butter pump in the lobby and enjoy it.
  3. The 33
    An inspired fantasy sequence midway through hints at the more intriguing movie The 33 might have been; instead, its tragedy-to-triumph narrative aims mostly for width, not depth.
  4. The Fate of the Furious
    The movie Tokyo-drifts into tedium in its more chaotic, casually gruesome chase scenes, and the “serious” dialogue is so consistently clunky it feels like it’s been carved from woodblocks with a dull butterknife. Thankfully, it’s frequently also much funnier and lighter on its feet than previous outings, and a lot of that credit goes to Statham and Johnson.
  5. Legend
    The film’s saving grace is Hardy, who is as ferocious and watchable as ever, acting smooth and brooding as Reggie and unhinged as Ronnie.
  6. Barbershop: The Next Cut
    Even when it falls short of its aim to get every last Beyoncé joke and Big Idea onscreen, the movie still offers what any barbershop worth its repeat customers provides: An hour or two of good company, and the feeling that you’re leaving a little sharper than when you came in.
  7. Bone Tomahawk
    I doubt there’s a huge audience for a movie like Bone Tomahawk, but those who find it may turn it into a new cult classic.
  8. Louder Than Bombs
    While Byrne is solid (as always) and Eisenberg is restrained (a relief after his manic Lex Luthor), it’s newcomer Druid whose scenes pack the most power and force.
  9. A Tale of Love and Darkness
    Portman’s evocation of this world has a strange, captivating pull. Assisted by the great Polish cinematographer Slawomir Idziak (Gattaca, Black Hawk Down, The Double Life of Veronique), she has created a visual landscape filled with nightmares.
  10. Popstar: Never Stop Never Stopping
    If it’s not exactly unforgettable, it’s still pretty fun.
  11. The Club
    The result is expectedly harrowing and heartbreaking, making for a difficult watch that will reward those with saintly patience.
  12. Tumbledown
    Tumbledown is a sweetly poignant look at what it means to move on.
  13. Solo: A Star Wars Story
    Speaking of Glover, it’s no spoiler to say that the Atlanta star is easily the best thing in this good-not-great movie.
  14. Two Step
    Writer-director Alex R. Johnson’s feature debut uses Southern Gothic simmer to heat up what is otherwise a typical gun-and-bag-of-money crime tale, though Hébert’s terrifyingly electric performance keeps the heat turned up enough to make the bloody climax feel like relief.
  15. Goon: Last of the Enforcers
    The film’s real treat is its deep acting bench with franchise veterans Scott, Pill, Liev Schreiber, Kim Coates, and Marc-André Grondin joined by Elisha Cuthbert, TJ Miller, and, of course, Russell, a real-life former hockey pro whose troubled villain is worthy of a redemptive spin-off film.
  16. Money Monster
    As a solid B-movie elevated by A-list talent and pushed along by a brisk running time — it’s only 98 minutes—Money has its own rewards.
  17. Ready Player One
    Never mind the director’s still-prodigious work ethic, the big-screen adaptation of Ernest Cline’s giddily overstuffed, ’80s-saturated best-seller is, in a way, a movie that couldn’t be more bespoke to Spielberg. After all, so many of that decade’s most indelible touchstones poured directly from his brain. It’s the perfect marriage of fabulist and fable.
  18. Race
    Credit Race for showcasing its hero’s human flaws, but the movie unfortunately lets him get away with them a little too easily (his grand makeup gesture to Ruth comes off more creepy than romantic).
  19. 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.
  20. Maggie's Plan
    Sometimes that tips too far into silliness (the final scene, especially, works strenuously towards an end-cute); still, its mildly subversive rom-com sensibilities are just sour-sweet enough to pull it off.
  21. Steve McQueen: The Man & Le Mans
    Engrossingly intimate documentary.
  22. Toy Story 4
    Toy Story 4 doesn’t hit the emotional highs of the previous films. There are good jokes that work and heist setpieces that don’t. The ending is moving, though now you distrust any finality with this saga. It does feel a bit cheap, somehow.
  23. Touched With Fire
    Touched With Fire has something to say about a thorny, serious subject, but the light it shines doesn’t really illuminate anything new.
  24. Yosemite
    Franco gives one of his most subtle performances yet as a recovering-alcoholic father, and the three young newcomers’ performances are honest and affecting, capturing what it feels like to be adrift and on the verge of adolescence.
  25. Sully
    The reason why the movie works at all is Hanks.
  26. 10 Cloverfield Lane
    For a rookie director, Trachtenberg appears to be a real craftsman, even if what he’s crafting doesn’t add up to as much as you hope it will.
  27. Goat
    Schnetzer, whose stock is sure to soon rise, is a shape-shifter — you’d never look at this gay Irish 1980s activist in Pride and conclude that it was the same person — but in only a few roles so far, he’s shown an extraordinary ability to portray both vulnerability and the mask screwed on to hide it.
    • 42 Metascore
    • 75 Critic Score
    Lazer Team
    It’s the confidence and energy of the four leads that keep the comedy moving forward.
  29. Christine
    Shot in the goldenrod-and-avocado palette of the ’70s and dabbed with incongruous soft-rock lullabies, the movie itself is both painfully intimate and strangely opaque on the subject of mental illness, taking us deep inside Christine’s disintegration even as it never quite figures out what it wants to say about it.
  30. The Fundamentals of Caring
    Caring may be fundamental, but it never quite feels necessary.
  31. The Hollars
    Is The Hollars an original, breathtaking dramedy that says anything new about middle-class suburbia and family? No. But with a brisk runtime and a terrific cast, it’s a pleasant and bittersweet look at one family struggling to keep it together.
  32. The Intervention
    Tears are shed. Laughs are had. Some jokes land better than others. The script wobbles between heavy-handed and touching, but the result is a pleasantly nostalgic throwback that’s saved from its copy-cat tendencies by charismatic actors.
  33. Other People
    Somehow, almost miraculously, Shannon makes her character become stronger as she gets weaker. It’s a wonderful performance.
  34. Southside with You
    Southside doesn’t hang on epiphanies; instead, it delivers something more modest: a tender, unrushed love story.
  35. A Hologram for the King
    If it sounds like Hologram is basically about a middle-aged white guy getting his groove back in the Middle East, well, yes, it is that. But if you squint hard enough, it’s also a little bit more.
  36. Lion
    Where Saroo goes and what he finds there left me in tears, but you feel that a complicated true story has been airbrushed into a postmodern legend.
  37. The Meddler
    Her character, reportedly based on writer-director Lorene Scafaria’s own mother, isn’t drawn with any particular depth or nuance (and the broad New Yawk accent Sarandon tries on is about as authentically Brooklyn as a Sara Lee bagel).
  38. In a Valley of Violence
    Two key aspects elevate the whole experience above its modest trappings. First, the dark, beautiful musical score by composer Jeff Grace works excellently as a lush, hummable homage to Ennio Morricone, while still feeling very true to West’s horror movie roots. And second, in the film’s best performance, John Travolta appears as the frustrated father of Ransome’s bad boy.
  39. Holidays
    Some of the films are haunting, some of them more macabre, but all of them play with holiday symbolism in way that will make viewers rethink a lot of their favorite celebrations.
  40. Our Kind of Traitor
    The film, while gorgeously shot, is schematic and wholly implausible. But Skarsgård saves it; wild and funny and ferociously alive, he’s a crucial bolt of color in all that tasteful gray.
    • 74 Metascore
    • 75 Critic Score
    Suspicion
    A few bravura sequences aside, it’s fairly flat.
  42. Hush
    Flanagan’s taut direction reinforces his rep as an up-and-comer we will hopefully be hearing much more from.
  43. It
    It is essentially two movies. The better by far (and it’s very good) is the one that feels like a darker Stand by Me — a nostalgic coming-of-age story about seven likable outcasts riding around on their bikes and facing their fears together... Less successful are the sections that trot out Pennywise. The more we see of him, the less scary he becomes.
  44. Hacksaw Ridge
    Despite its promise, Hacksaw never really delves into the moral grays; it’s just black and white and red all over.
  45. Elle
    We get to watch another unforgettable and incomparable Huppert performance.
  46. Personal Shopper
    Stewart, who appears in nearly every scene, is intensely watchable, a coiled spring. But the movie is too fragmented and tonally strange to register as more than one of Maureen’s wispy, haunted apparitions.
  47. Blood Father
    A violent, grungy, Peckinpah-lite action thriller that’s worth checking out just to be reminded how powerful an actor Mel Gibson continues to be even—if the parts aren’t coming like they once were.
  48. Raw
    Raw is unsettling and repulsive and, believe it or not, occasionally funny. It’s got audacity and style, and it packs an undeniably wicked punch.
  49. Rules Don't Apply
    It turns out that Rules Don’t Apply is hardly about Hughes at all. Instead, it’s a small-scale, lovingly filmed study of the blossoming romance between two fictional show-business newbies.
  50. The Happiest Day in the Life of Olli Mäki
    It’s the quiet, simple moments between Olli and Raija that stick with you, whether he’s giving her a ride on the handlebars of his bicycle on their way to a country wedding or skipping stones across the smooth surface of a lake.
    • 77 Metascore
    • 75 Critic Score
    Zero Days
    A sense of duty and morals doesn’t render Gibney infallible as a storyteller, however, as even passion for justice sometimes breeds overindulgence when you’re drunk with power and a camera.
  52. Morgan
    Is Morgan hardwired for violence, or is “she” just a synthetic naïf with a bloody glitch? Taylor-Joy and the rest of the ace cast make you care about the answer to that question. The script? Less so.
  53. Anthropoid
    British director Sean Ellis has a knack for staging the film’s early plotting-the-scheme scenes in dimly lit, monochrome interiors, but the storytelling is disappointingly square.
  54. Atomic Blonde
    The pounding ’80s soundtrack (New Order, Depeche Mode, Ministry) couldn’t be cooler, the ultraviolence is relentlessly brutal, and Theron’s guns-and-garters wardrobe is sexy as hell. So it’s a shame that apart from the gender flip, the plot is so derivative.
  55. Life, Animated
    The Suskinds’ humongous hearts are obviously in the right place and their openness is to be admired and encouraged — even if a book, more than a movie, remains the better venue to fairly and honestly tell Owen’s extraordinary story.
  56. Wicked
    For now, like Denis Villeneuve’s first Dune, this Wicked manages to end on a note of “to be continued” while still feeling like a complete story. If only its imagery had a little more magic!
  57. Absolutely Fabulous: The Movie
    Ultimately though, it’s all secondary to Saunders and Lumley’s riotous chemistry together.
  58. The Foreigner
    Chan has a bit of Clint Eastwood’s "Unforgiven" aura about him here, with the costs of his violent life visible in the weary lines of his face. I’m not sure anyone has plans to turn this into a franchise, but I certainly want to see more from this Chan-aissance.
  59. The Love Witch
    The Love Witch is so thin that if it turned sideways it would be invisible. It’s like a Bewitched episode stretched out to two hours. But boy, is it gorgeous to look at.
  60. Imperium
    Subtlety is not Imperium’s strength. But as a solid thriller, it’s far more successful, and Radcliffe is brilliant as the quick-on-his-feet agent.
  61. Tomb Raider
    Uthaug also manages to work in a few genuinely cool visual tricks, though the dialogue, from a serviceable script by Geneva Robertson-Dworet and Alastair Siddons is strictly standard; a mix of clunky action-movie exposition and winking Indiana Jones-style humor.
  62. Command and Control
    The pace of the drama is riveting, as it jumps back through the decades to place the accident in the context of the nuclear arms race.
  63. Mary Poppins Returns
    Spoonfuls of sugar always help the movie magic go down; if only this Mary had gotten a necessary twist of lemon, too.
  64. Office Christmas Party
    Aniston has a great time as the vampy, Krav Maga-ing Bitch Who Stole Christmas, and Miller’s willful idiocy is weirdly endearing.
  65. 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.
    • 72 Metascore
    • 75 Critic Score
    The Eagle Huntress
    The movie’s restrained second half stuns, ranking as one of the most magical stretches of nonfiction filmmaking in recent years.
    • 65 Metascore
    • 75 Critic Score
    Miss Stevens
    Though its heart beats with the same blood as something like "Lost in Translation," in which a daunting age gap inspires lasting platonic chemistry between two drifting souls, Miss Stevens feels fresh in its take on human vulnerability.
  68. A Dog's Purpose
    Purpose itself plays like a family film from another era, its gentle sensibilities a million miles removed from the winky pop culture references and meta layers of most modern all-ages entertainment. The effect is sweet, benignly retro, and just a little bit boring; a comforting Milk Bone for the soul.
  69. Three Colors: White
    There’s something earthy and elemental in this tale that was missing in Blue, something quirky and (measured by Kieslowskian standards) energetic.
  70. Miss Sloane
    Chastain fully commits to her boss-bitch persona, even if we only obliquely learn why she might have chosen such a lonely, mercenary life.
  71. Chuck
    Schreiber buoys the film with his characteristic blend of nuance and smirking humor, exuding likability though never lionizing the self-described “selfish prick” that he’s portraying.
    • 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.
  73. Norman: The Moderate Rise and Tragic Fall of a New York Fixer
    Cedar has created a classic cautionary tale in Norman, and Gere flawlessly turns his tragic hero into someone who’s sympathetic and human.
  74. The Monster
    Like "The Strangers," the result is a simple but skillfully told shocker.
  75. Blair Witch
    Blair Witch is the Hollywoodication of a film that defied the industry, and it works because of the profound respect for the original that hides beneath camera work that’s too good and a cast that’s too attractive.
  76. Wakefield
    Cranston is utterly hypnotic as a certain kind of American male on the verge of a nervous breakdown.
  77. The Woman Who Left
    The Woman Who Left may not be a movie for everyone, but if you allow yourself to settle into its leisurely tempo and marinate in its heroine’s journey, it can be a richly rewarding experience.
  78. Get Out
    Peele is undeniably a born filmmaker with big ambitions and an even bigger set of balls. He’s made a horror movie whose biggest jolts have nothing to do with blood or bodies, but rather with big ideas.
  79. Ocean's 8
    Ocean’s 8’s girls-just-wanna-have-grand-larceny conceit is the kind of starry, high-gloss goof the summer movie season was made for, even if it feels lightweight by the already zero-gravity standards of the genre.
    • 40 Metascore
    • 75 Critic Score
    The Comedian
    The Comedian explores the dynamics of such unorthodox attraction with its heart in the right place, but for all of its performative charm, it still suffers the untimely misfortune of following an old, white man grousing about the state of affairs as the world diversifies around him.
  81. My Cousin Rachel
    A gothic moodpiece masquerading as a thriller, My Cousin Rachel is a misdirected swoon of a movie—long on black-veiled romance and ravishing atmosphere and a little short, alas, on dividends.
  82. Henry: Portrait of a Serial Killer
    Henry: Portrait of a Serial Killer is undeniably disturbing, especially that video scene and when it shows us (however discreetly) a body being hacked up in a bathtub. Yet the critics who’ve hailed it as a landmark are going overboard. Henry is just a superior B-movie with an artsy-clinical title.
  83. Carlito's Way
    Carlito’s Way is perfectly okay entertainment, yet this 2-hour-and-21-minute movie never convinced me it wouldn’t have been every bit as good (if not better) as a lean and mean Miami Vice episode.
  84. Beauty and the Beast
    Splendidly crafted as it is, the new Disney is a luscious impasto of visual invention that never quite finds its heart.
  85. Best and Most Beautiful Things
    The film’s overall effect lets the person — not the condition — be the real story, one that’s worth sharing.
  86. Spider-Man: Far from Home
    Far From Home succeeds with an unusual, troubling virtue: The best parts are the most fake.
  87. Despicable Me 3
    What shines through is the visual wit and innate sweetness of the storytelling, and Carell’s cackling, cueball-skulled misanthrope — a (mostly) reformed scoundrel who can still have his cake, and arsenic too.
  88. Girls Trip
    The jokes that are there are shocking and hysterical, and unlike some similar comedies about grownup friends, the four core characters are actually likeable.
  89. Victoria and Abdul
    Uneven but endearing.
  90. Vivo
    Have tissues ready, and thank Vivo for teaching the little ones a valuable lesson: Do not go into a swamp alone, or you will meet a tree-size python who sounds just like Michael Rooker.
  91. The Little Hours
    Writer-director Jeff Baena adapts parts of Boccaccio’s Decameron into an absurd and hysterical tale of nuns gone wild.
  92. Burning Sands
    There isn’t much room for nuance in his script, and the movie’s darkness (literally: too many poorly lit nighttime scenes are more heard than seen) undermines its message. But there’s something powerful even in its predictability.
  93. Ingrid Goes West
    A clever, corrosive little trick of a movie, a neon candy heart dipped in asbestos.
  94. Beatriz at Dinner
    Years from now, when the orbital politics of the film have dissolved, what will resonate about Beatriz at Dinner will be the sight of Hayek — leaps and bounds more enchanting a screen presence than the performers surrounding her — as a poignant object of neglect.
  95. Novitiate
    First-time director Maggie Betts has said she based her story in part on extended research into the aftershocks of Vatican II’s new liberties — in its wake, devoted members left the Church in droves — and on personal biographies of the women who experienced it firsthand.
  96. 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.
  97. To the Bone
    For young people suffering, the movie offers both hope and clarity; for more experienced viewers, it may come off a little too much like "Girl, Interrupted" through a Lifetime lens.
  98. 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.
  99. Marshall
    The film shines, however, as a taut courtroom drama.
  100. Phantom Thread
    Like all of Anderson’s films (the best of which remain Boogie Nights and Magnolia), Phantom Thread is meticulously crafted, visually sumptuous, impeccably acted, and very, very directorly. But until the final act, this straight-jacketed character study is also pretty tame stuff — emotionally remote, a bit too studied, and far easier to admire than surrender to and swoon over.
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