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 1.9 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. 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.
  2. West Side Story
    It feels like a rare achievement to even attempt to scale the unscalable and still, after more than half a century, be able to make it sing.
  3. The Edge of Heaven
    Hopping from Germany to Turkey and back again, Akin is out to capture the ways that a globalized world can tear up our hearts, and repair them, too.
  4. The Savages
    The Savages is terrific -- a movie of uncommon appreciation for the nature and nurture that go into making us who we are, a perfectly calibrated drama both compassionate and unsentimental.
  5. Gimme Shelter
    Remains the only rock & roll film that exerts the saturnine intensity of a thriller.
  6. An Education
    Afterward, you'll want to listen to the Beatles sing ''She's Leaving Home.'' It might be a girl like Jenny the lads had in mind.
  7. Lebanon
    It took writer-director Samuel ''Shmulik'' Maoz nearly 30 years to make this disturbing, visceral, personal film.
  8. Eighth Grade
    Eighth Grade is an absolute delight that stings with truth. It’s heartbreaking, heartwarming, and a total charmer.
  9. Exit Through the Gift Shop
    An exhilarating hall-of-mirrors look at what happens when global art fame turns anonymous, artists become objects, fans turn into artists, and the whole what's-sincere-and-what's-a-sham spectacle is more fun than art was ever supposed to be.
  10. Kings & Queen
    Gripping, highly original.
  11. Sling Blade
    It's a beautiful contraption of a movie, a gothic backwoods fable that uses its naive yet murderous hero to walk a fine line between sentimentality and dread.
    • Entertainment Weekly
  12. Let's Get Lost
    Just about the only documentary that works like a novel, inviting you to read between the lines of Baker's personality until you touch the secret sadness at the heart of his beauty.
  13. Offside
    Jafar Panahi's wonderfully funny, outspoken shaggy-dog story, a light counterweight to his sadder 2000 feminist drama "The Circle."
    • 85 Metascore
    • 100 Critic Score
    Sleeping Beauty
    Barbie-doll-slim Princess Aurora, cursed to enter suspended animation at 16, and her Abercrombie & Fitch-worthy savior Prince Phillip, who literally rides a white horse — aren’t as much fun as the three fussy-old-lady fairies who become their protectors. This movie is all about the lure of supporting ornamentation.
    • 85 Metascore
    • 91 Critic Score
    Easy Rider
    Biker classic, with memorable counterculture monologues.
  16. Knocked Up
    The very opposite of a storybook romance, and also the very model of a great comedy for our values-driven time.
    • 85 Metascore
    • 91 Critic Score
    The Quiet Man
    Sentimental and sexist, John Ford’s gorgeous slice of the auld sod nevertheless moves like music.
    • 85 Metascore
    • 42 Critic Score
    Turtles Can Fly
    Lacks grace, coherence, and a surface vivid enough to make it an alarm that many will hear.
  19. The Departed
    The very title The Departed suggests a James Joycean take on Irish-Catholic sentiment when, of course, this story is anything but: It's Scorsesean, and he's in full bloom.
  20. Spring, Summer, Fall, Winter... and Spring
    The triumph of ''Spring, Summer'' is that even those of us who don't happen to be Buddhists can catch a glimpse of ourselves in the spinning wheel of hope, destruction, suffering, and bliss.
  21. Tinker Tailor Soldier Spy
    A puzzle of a highly rarefied order. At times it's enthrallingly clever and subtle; at others it's borderline incomprehensible.
  22. Support the Girls
    To see a black female over 40 holding the center of a story about ordinary, unsung lives makes Support a low-key pleasure; one that transcends its own shaggy narrative.
  23. Half Nelson
    Half Nelson offers an opportunity to marvel, once again, at the dazzling talent of Ryan Gosling for playing young men as believable as they are psychologically trip-wired.
  24. Vincere
    Mezzogiorno (Love in the Time of Cholera) plays Dalser with the kind of fervent intensity once seen in silent films.
  25. The Fabulous Baker Boys
    Nearly every scene is a jazz-tinged, virtuoso actors’ duet.
  26. The Insider
    A good but far from great movie because it portrays truth telling in America as far more imperiled than it is.
    • 85 Metascore
    • 91 Critic Score
    Victim
    While some may be put off by talk of ”abnormalities,” the inner struggle depicted so poignantly in Victim has not dated at all.
  28. Love and Diane
    Riveting family portrait.
  29. About Schmidt
    The power of this great movie -- part comedy, part tragedy, part satire, mostly masterpiece -- is in the details.
  30. Domestic Violence
    Wiseman reveals the victims of domestic abuse in all of their pity and terror.
  31. Hero
    I wish 'Hero's emotional heat rose more intensely -- more recklessly. There's something grand but distant and almost fetishistic about the operatic solemnity with which Zhang approaches the Rashomonic story of assassins attempting to kill a king.
  32. Neil Young: Heart of Gold
    Young, wizened yet valiant, his voice still braying at the moon, delivers these songs of aging and loss as if caught in a beautiful dream of what lies waiting for him on the other side.
  33. Mudbound
    I’m not quite sure how Rees (2011’s Pariah) has done it, exactly, but the depth of heartbreak and humanity in this — just her second feature film — is remarkable.
  34. Passing
    It feels like an actor's film: a delicate, melancholy study in black and white, nearly every scene filled with careful silences and subtext.
  35. Hedwig and the Angry Inch
    Mitchell directs and stars in the riotous, loving, and only occasionally pathos-milking film adaptation of his own acclaimed Off Broadway play, with great up-your-ante music and lyrics by Stephen Trask.
  36. Holy Motors
    An exhilarating puzzle, one of the grand cinematic eruptions of the year.
  37. Unforgiven
    As enjoyable as most of Unforgiven is, Eastwood's shades-of-gray moralism feels like a whitewash.
  38. The Dark Knight
    At two hours and 32 minutes, this is almost too much movie, but it has a malicious, careening zest all its own. It's a ride for the gut AND the brain.
  39. Everybody Wants Some!!
    There’s Glen Powell as Finn, the endearing loquacious smoothie; there’s Juston Street as Jay, the psycho loose-cannon fireballer; and Wyatt (son of Kurt) Russell as Willoughby, the older, sage-like stoner who quotes Carl Sagan after ripping bong hits.
  40. The Past
    The Past, is hugely ambitious — it's Farhadi seizing his moment — yet it's also a wrenchingly intimate tale of lives torn asunder by forces within and without them.
    • 85 Metascore
    • 100 Critic Score
    Cinderella
    The character gags work, the dreamlike ball sequence still induces swooning, and if you aren’t on the edge of your seat for the climactic fitting, it’s time to get back on the romanticism meds.
  42. One Child Nation
    If One Child sometimes seems to raise more questions than it can answer, and more pain than it has room to explore, the movie offers an urgent and affecting reminder of what happens when the rule of law subsumes not just free will but the very act of existing — and the humanity that still, against all odds, endures.
  43. 24 Hour Party People
    An insider nostalgia trip for graying art punks. It could have been called ''When We Were Cool,'' and it's finally so cool that it freezes you out.
  44. Atonement
    In the end -- an ending of such power and narrative originality (in both book and movie) that those who know it ought never breathe a word to those who don't.
  45. The Tree of Life
    Malick clings to the promise of grace: His vision of the afterlife is a dreamy beach, enhanced by an excellent playlist of fine classical music, and promising the peace that surpasses all understanding. Plus a beautiful sky.
  46. 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.
  47. The Host
    Bong Joon-ho's wildly entertaining saga should become the hip, thinking-person's monster movie of choice.
  48. Das Boot
    Sweaty and claustrophobic, exciting and horrifying at the same time, it never lets us forget we're riding aboard a giant, primitive tin can, a hunk of industrial machinery that mingles the illusion of omnipotence with the reality of a floating prison cell. [Director's Cut]
  49. Restrepo
    It's doubtful you'll ever see a combat documentary that channels the chaos of war as thoroughly as this one.
  50. The Iron Giant
    At times, The Iron Giant is more serene than it needs to be, but it's a lovely and touching daydream.
  51. Won't You Be My Neighbor?
    It’s like a security blanket for our troubled times.
  52. Meek's Cutoff
    Temperamentally in sync with her "Wendy and Lucy" director, Michelle Williams plays one of the toiling wives. And the actress, with her calm center, compresses the entire history of frontier wifeliness into the concentration with which she gathers firewood and loads a musket.
  53. Fruitvale Station
    Fruitvale Station is great political filmmaking because it's great filmmaking, period.
  54. Rachel Getting Married
    A triumph -- Demme's finest work since "The Silence of the Lambs," and a movie that tingles with life.
  55. Watchers of the Sky
    Tough to watch, but essential.
  56. Sound and Fury
    A work of intimate and wrenching humanity.
  57. The Circle
    Circles the heart of noisy, modern Tehran with an informal, documentary-like freedom that is thrilling in its naturalism.
  58. Since Otar Left
    Superb family drama.
  59. The Handmaiden
    So suspenseful, sexy, and surprising that it would be a shame to say any more.
  60. Slumdog Millionaire
    Slumdog Millionaire is nothing if not an enjoyably far-fetched piece of rags-to-riches wish fulfillment.
  61. A Christmas Tale
    The movie is enchanting.
  62. Paranoid Park
    Paranoid Park has the slightly glum insularity of minimalist fiction, but it's the first of Van Sant's blitzed-generation films in which a young man wakes up instead of shutting down.
  63. Out of Sight
    Lopez, for all her Latina-siren voluptuousness, has always projected a contained coolness, and this is the first movie in which it fully works for her.
    • 84 Metascore
    • 100 Critic Score
    Brazil
    One of those rare gems that prove equally stunning on both aesthetic and cerebral levels.
    • Entertainment Weekly
  65. In the Shadow of the Moon
    In the Shadow of the Moon finds new resonance in the moment when America redefined progress -- but also when it heeded the siren song of a world so desolate it reminded you what a paradise ours truly is.
  66. The Big Risk
    A doozy of a French gangster pic that, in its beautifully refurbished and pithily resubtitled re-release, turns out to be one of the highlights of the 2005 movie year.
  67. 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.
  68. Are You There God? It's Me, Margaret
    The film version is an utter delight, a loving adaptation that's both true to the book and endearingly fresh.
  69. Children of Men
    It's a work of art that deserves a space cleared for its angry, nervous beauty.
  70. Judas and the Black Messiah
    Black Messiah's center of gravity has to be a Hampton you can't look away from, and Kaluuya — alternately raw, tender, and incendiary — duly electrifies every scene he's in. Righteous as the road may be, his Fred hasn't been flattened to fit the broad Wikipedia-worn contours of a martyr or a hero; he lives and breathes, down to the last indelible frame.
  71. Revanche
    As long as Revanche focuses on the relationship between Tamara (Irina Potapenko), an indentured Ukrainian prostitute, and Alex (Johannes Krisch), the ex-con gofer and would-be tough guy who wants to help her escape, it's riveting.
  72. The Man Without a Past
    The message, if there must be one, of this marvelous, stubbornly personal movie is that there is a spark in every soul.
  73. American Movie
    A tacit auteur-to-auteur endorsement of the inalienable right to make movies--regardless of talent or sobriety or adult responsibilities--is what gives American Movie its uneasy kick.
  74. Husbands and Wives
    Husbands and Wives is a big, spongy ball of therapeutic angst. I hope Woody Allen continues pouring his life into his movies, but next time he’d do well to keep the couch off camera.
  75. Once Upon a Time ... in Hollywood
    It’s shaggy and self-indulgent and almost scandalously long; and in nearly every moment, pretty glorious. Once also has the good luck of being anchored by what might be two of the last true movie stars: Leonardo DiCaprio as Rick Dalton, a boozy, anxious actor staring down the bell curve of a never-quite-stellar career, and Brad Pitt as Cliff Booth, his taciturn stuntman turned trusty sidekick and consigliere.
  76. Moonrise Kingdom
    For some viewers, Moonrise Kingdom may be movie heaven, another bric-a-brac-jammed bauble to place alongside "The Life Aquatic With Steve Zissou" and "The Darjeeling Limited." Personally, though, I wish that Anderson would come out from under the glass, or at least change what he's doing under there.
  77. Up the Yangtze
    Filmmaker Yung Chang finds a sad and beautiful way to glimpse the big picture of dislocation through an exquisitely poised small study.
  78. Farewell My Concubine
    Dramatizing totalitarian oppression is hardly novel, but Farewell My Concubine may be the first film to capture the unique spiritual cruelty of a regime in which beauty itself had become a crime.
    • 84 Metascore
    • 67 Critic Score
    Limelight
    Overburdened by Chaplin’s creaky script and fussy acting. Nevertheless, his musical duet with Buster Keaton is an absolute gas, proof that even when Chaplin was bad, he could still be good.
  80. McQueen
    If McQueen feels like it’s missing some deeper insights, it may be because its subject kept so much of himself hidden from even the people who loved him most.... What’s left is a fascinating if incomplete portrait of genius interrupted — and a life that should have lasted much longer than it did.
  81. 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.
  82. The Friends of Eddie Coyle
    Mitchum looks like a doomed slab of granite and gives a dynamite performance. The tough-guy dialogue and working-class Boston locations are so realistic it almost feels like you’re watching a documentary.
  83. Séraphine
    Moreau is bewitching -- she simply breathes her role, without a hint of vanity.
  84. 49 Up
    49 Up is a precious document, and must viewing.
  85. BPM (Beats Per Minute)
    There’s something uniquely, transcendently beautiful in Campillo’s particular vision and the unhurried way he unfurls it.
    • 84 Metascore
    • 58 Reviewed by
      Ty Burr
    The Joy Luck Club
    A sumptuous two-and-a-quarter-hour emotional epic built on one lachrymose climax after another. What little plot there is exists only to set up the next Big Cry.
    • 84 Metascore
    • 83 Critic Score
    Trafic
    There’s a balletic car crash, a faux-dead-dog gag, a joke involving a baby’s bare bum, and…oh, treat yourself and see it.
  88. American Beauty
    You know you're in the hands of a true filmmaker when you feel invited, at every turn, to share his sense of entrancement. I got that feeling in just about every frame of American Beauty.
  89. Blade Runner
    This is perhaps the only science-fiction film that can be called transcendental.
    • 84 Metascore
    • 83 Critic Score
    Kagemusha
    An often breathtaking but slightly bloodless samurai epic.
  91. That Obscure Object of Desire
    The lightness with which Buñuel was able to insert the little jokes and knife stabs of surrealism he loved so much is, in fact, divine.
  92. Far From Heaven
    Bold and brilliant.
  93. No Man's Land
    It's a merciless and mirthlessly funny antiwar weapon from a filmmaker who has seen battle firsthand and has lived to make art from memories of hell.
  94. One Flew Over the Cuckoo's Nest
    Nicholson’s live-wire performance turns what could have been a standard movie malcontent into a martyr.
  95. Lagaan: Once Upon a Time in India
    The unlikeliest enthralling movie to be released so far this year.
  96. Fireworks Wednesday (2006)
    Farhadi’s intrigue doesn’t feel like the stuff of a Hollywood thriller. It’s more realistic, more pedestrian than that – which gives it a real ring of low-key emotional truth.
    • 84 Metascore
    • 100 Critic Score
    All the President's Men
    A riveting, superbly acted political thriller.
  98. 2001: A Space Odyssey
    Still the grandest of all science-fiction movies.
    • Entertainment Weekly
  99. 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.
  100. Darwin's Nightmare
    Darwin's Nightmare points an all-purpose finger at globalization, yet the movie, as raw and vivid as it is, meanders terribly and - bigger problem - never hints at how the disasters it shows us are rooted in Africa's colonial past.
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