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 2.2 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
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  1. Just Mercy
    It’s solidly rewarding to watch the wheels of Mercy turn, though the direction ... can’t seem to help falling into certain schematics that tend to follow movies like these: the original sin; the uplift; the leering good-old-boy sheriffs; the big-moment court scenes.
  2. Jojo Rabbit
    Waititi ... finds such strange, sweet humor in his storytelling that the movie somehow maintains its ballast, even when the tone inevitably (and it feels, necessarily) shifts.
  3. Motherless Brooklyn
    If it all sometimes feels trapped in the amber of his intentions, Brooklyn still casts a quiet sort of spell: a meticulously, lovingly made mood piece, full of empathy for the ones who can’t speak — at least not always the way they want to — for themselves.
  4. Judy
    If the blond, marathon-lean Zellweger hardly seems like a natural doppelganger for Garland, she subsumes herself completely in the role, without ever tipping over into some kind of gestural Judy drag.
  5. Ford v Ferrari
    It’s a movie so well put together as a hero’s tale that it moves along almost too smoothly; the script by brothers Jez and John Henry Butterworth hits its marks of tragedy and triumph with a kind of shiny, measured inevitability.
  6. The Fanatic
    Unfortunately for Travolta (and for us), only one movie can hold the dubious distinction of being the worst. In place of Wiseau-style eccentricity, The Fanatic has contempt for both its characters and audience.
  7. It: Chapter Two
    The main problem with Chapter Two is that it goes on, and on, for so very long. If brevity is not necessarily the soul of a good scare, it would certainly serve a story that sends in the clowns, and then lets them just stay there — leering and lurking and chewing through scene after scene — until the there’s nothing left to do but laugh, or leave.
  8. Brittany Runs A Marathon
    The thing that truly makes the movie, though, is Bell.
  9. Official Secrets
    And even as the narrative goes through its sometimes sermonizing paces, it’s hard not to be moved by the singular passion of a woman who effectively dismantled her own life not just to salve her conscience, but to save the soul of a nation.
  10. American Factory
    The movie, which bowed to uniformly rave reviews at Sundance earlier this year, is also — it will probably be noted ad nauseum — the first film collaboration from Barack and Michelle Obama’s new production company Higher Ground. But the heart and soul of American Factory, like all American factories, is never really politics of course; it’s people.
  11. Ready or Not
    So come for the crossbows, etc., and to watch Weaving’s star be born in real time; stay for the socio-economic lessons and sweet, sweet revenge.
  12. Good Boys
    In the end, it’s their fundamental goodness — not all the wicked, winky “bad” — that’s easily the best thing about Boys.
  13. Where'd You Go, Bernadette
    Linklater, who brought such subtle, generous feeling to films like Boyhood and the Sunset trilogy, feels somehow miscast as the steward of Bernadette‘s willful eccentricities.
  14. Blinded by the Light
    Love, faith, Springsteen; that and a Sony Walkman are all it takes to surrender to the pure, ingenuous joy of Blinded by the Light, a Technicolor ode to the power of music so deeply tender and heartfelt that it disarms even the most misanthropic critic’s instincts.
  15. After the Wedding
    If the script’s epiphanies don’t feel quite as shocking or profound the second time around, it’s still pleasing to watch these beautiful, troubled people move through their equally beautiful spaces: something borrowed, something blue — and with Freundlich’s careful alterations, something new.
  16. Scary Stories to Tell in the Dark
    Blessed with some firm hands on the terror tiller and a winning cast, Scary Stories to Tell in the Dark is a handsome, and deliciously horrible, horror movie.
  17. 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.
  18. The Kitchen
    There’s so much talent in The Kitchen, and so much of it wasted; that’s kind of all you can think about for most of writer-director Andrea Berloff’s debut.
  19. The Art of Racing in the Rain
    Rain is not a bad movie, really, and it doesn’t sell itself as anything other than earnest, floppy-eared family entertainment. But there’s a gooey out-of-time feeling to the whole thing that a lot of films like these seem to have — a sentimental IV drip that steadily manipulates heartstrings without ever quite touching anything like true life.
  20. Luce
    No one gets off easy here, and no one quite gets answers, either; maybe that’s the point.
  21. The Nightingale
    At nearly 140 minutes, the narrative takes its time wending toward a final, inevitable confrontation, and the incidents that punctuate it can sometimes feel like singularly ugly stations of the cross to be marked off; a series of random man- and nature-made cruelties meted out without pity.
  22. Fast & Furious Presents: Hobbs & Shaw
    Director David Leitch (Atomic Blonde, Deadpool 2) seems to know how to set up his outrageous set pieces, then get out of the way often enough to let his stars do what they need to do: Joke, chokehold, kiss, and smash until the helicopters come home.
  23. 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.
  24. 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.
  25. The Farewell
    Wang’s story outline shares the familiar contours of other immigrant tales: the Babel tower of half-spoken languages; the ties that bind across oceans, and the physical and cultural gaps that can still break them. But Farewell also has the freshness of her own distinct voice, a dry humor and low-key melancholy that infuses even the most quotidian scenes.
  26. Stuber
    To be clear, Stuber is a very silly movie: Half the action scenes look like they were shot inside a Cuisinart, the sexual politics are questionable, the violence cartoonishly extreme, and the plot has the general coherence of a wet napkin. But Stuber knows that sense and logic aren’t what its audience came for; we’re here for good dumb fun — and of course, central air.
  27. The Lion King
    The story and the songs, with a few notable if hardly unexpected updates, are fondly faithful to the original; the magic mostly intact. Another reboot was never terribly necessary, maybe — but it’s good, still, to be King.
  28. Spider-Man: Far from Home
    Far From Home succeeds with an unusual, troubling virtue: The best parts are the most fake.
  29. Yesterday
    Fairy tales edge toward strangeness, and the sanded edges of Yesterday ultimately feel more like a flashy commercial — one of those recent music documentaries commissioned by the people on screen, propaganda with feels. The music’s good, duh, and it’ll be just as good when your local high school performs Yesterday. Which lucky kid gets to play Ed Sheeran?
  30. Annabelle Comes Home
    Annabelle Comes Home is only a little scary, and too religiously dedicated to its own ongoing cash-printing megafranchise for big laughs. But the best moments in this low-key domestic horror film have a tossed-off quality, like the whole production cycle was a fun weekend for everybody.
  31. Wild Rose
    Director Tom Harper (War & Peace) aptly conveys the single-mindedness that a life of art requires, and the double standard applied to the women who pursue it at the cost of other, seemingly more essential things. But it’s Buckley, wild and free, who makes the movie sing.
  32. American Woman
    As more than a decade passes on screen, the one constant is Miller’s presence in every scene: a messy, chain-smoking sex kitten stumbling from delayed adolescence toward a grown womanhood — painful, honest, and flawed — worth waiting for.
  33. Midsommar
    Like the fretful violins that stagger raggedly over the soundtrack, the skin-pricking pleasures of Midsommar aren’t rational, they’re instinctive: a thrilling, seasick freefall into the light.
  34. Child's Play
    By giving Chucky a reason to kill, the new movie’s arc can’t help but dilute his menace a bit.
  35. Murder Mystery
    Aniston and Sandler, paired before in 2011’s "Just Go With It," relax into their roles as if their only stake in Mystery is to enjoy the free trip to Italy and have fun running down cobblestones.
  36. The Dead Don't Die
    It’s a film that lazily whistles past the graveyard as it brings that graveyard back to ravenous life.
  37. Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese
    The Rolling Thunder Revue was Dylan’s personal magical mystery tour — and in Scorsese’s hands, there’s no shortage of magic or mystery.
  38. 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.
  39. Men in Black: International
    International is better than Men in Black II and worse than Men in Black III, and they’re all bad, so erase this sentence from your memory.
  40. The Last Black Man in San Francisco
    It’s not a movie for admiring in freeze frame; it’s the kind you fall into with your whole heart and emerge from feeling, for two hours at least, what it is to fully be transported by the magic of film.
  41. Late Night
    The best scenes in Late Night are consistently the ones where the movie’s main stars spar and banter and intermittently connect; two unlikely satellites smashing into each other’s orbits, and maybe finding themselves in the wreckage.
  42. The Secret Life of Pets 2
    As 86-minute kids’ movies go, The Secret Life of Pets 2 is shockingly padded. It’s the same old dogs with no new tricks.
  43. Dark Phoenix
    For what is being called a final installment, it all tends to feel both anticlimactic and a little grim in the end.
  44. Ask Dr. Ruth
    The new documentary Ask Dr. Ruth... seeks to give audiences an understanding of the extraordinary life that shaped this one-of-a-kind woman but falls short when it comes to digging beyond mere biography.
  45. Always Be My Maybe
    The stuff of a thousand future Twitter gifs, though, is a featured appearance by Keanu Reeves. It’s better not to know too much about his role going in, other than that nearly everything about it has the winking air quotes of a movie star playing directly to his own storied Hollywood history, and that it is for the most part ridiculously fun.
  46. Ma
    Even as the story descends into full bloody camp at its crescendo, Spencer holds the more ludicrous plot threads together.
  47. Godzilla: King of the Monsters
    Before anyone reading this starts complaining that I just don’t get what movies like Godzilla: King of the Monsters are all about, that I’m the sort of killjoy who should just relax, let me say that it would be a lot easier to take it less seriously if the people who made the movie cared enough to take it more seriously.
  48. Rocketman
    Egerton’s whole-body commitment captures not just Elton’s outrageous physicality — in costume designer Julian Day’s hands, he’s essentially a one-man Mardi Gras — but his enduring sadness and insecurity (and the self-sabotaging behavior it was too often funneled through) without tipping into showbiz-tragedy cliché. He’s the starry-eyed cosmonaut the part demands, but merely, endearingly mortal too.
  49. Avengement
    Director Jesse V. Johnson sprinkles in enough cruel twists of fate and melancholy-laced flashbacks to prevent Avengement from becoming just another disposable exercise in action sadism on a budget. The real credit, though, goes to Adkins, who one of these days will hopefully get called up to the Hollywood big leagues and wind up surprising a lot of people — and grin while he’s doing it.
  50. The Perfection
    It delivers. The Perfection is a pure hit of twisted, absurd camp catnip.
  51. Brightburn
    The movie is more or less all premise. The rest is just an occasionally suspenseful, occasionally gory sci-fi riff on any number of earthbound creepy-kid thrillers.
  52. 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.
  53. Aladdin
    The ever-quickening half-life of pop culture has gotten so short that we’ve now officially entered the era of diminishing returns. It’s the new normal. What’s old is new again — but not quite as good as you remembered it. Aladdin is…fine, but it has no real reason for being beyond, you know, capitalism. A whole new world, it’s not.
  54. The Souvenir
    The story casts a spell, and Swinton Byrne is a milky, beguiling presence; it’s almost as if you’re watching her become a person in real time.
  55. The Sun Is Also a Star
    The leads are both charming, but they can’t override the tooth-aching sincerity of the script, or the cardboard conflicts that propel it.
  56. All Is True
    There is a beautiful, surprising, and entirely engrossing film within this movie; it’s just almost impossible to find among the establishing shots of ponds and endless subplots of real-life characters introduced for seemingly no other reason than to help make this movie perfect for sophomore year high school classes.
  57. John Wick: Chapter 3 - Parabellum
    I don’t mean to give the impression that John Wick 3 is anything grander than a gorgeously choreographed, gratuitously violent action movie. But as gorgeously choreographed, gratuitously violent action movies go, it’s high art.
  58. Wine Country
    There’s plenty of drinking, bonding, and bickering. But none of the jokes feel as barbed-wire sharp as the material you know these brilliant comic actresses could have come up with if they tossed out the script and just ad-libbed.
  59. The Biggest Little Farm
    As the story unfolds over nearly a decade, Biggest becomes something even more impactful: a thoughtful and often profoundly moving portrait of the remarkable work involved in producing mindful food — and an eloquent reminder that so much of what we take for granted on our plates is, in its own everyday way, a miracle.
  60. The Hustle
    There are a few legitimately great throwaway lines, and a few vaguely offensive ones. But the movie feels so fast and cheap that it’s hard not to wonder why they’ve made it at all, other than to jump on a small and so-far underwhelming trend in gender-swapping ‘80s remakes (see also: Ghostbusters, Overboard).
  61. Extremely Wicked, Shockingly Evil and Vile
    What makes it more than a slick impersonation of sociopathy, though, is the layers he peels — Bundy’s desperation, his endless calculations and longing for connection. He also has some great interplay with John Malkovich, as the Tallahassee judge who engages in a sort of folksy, combative back-and-forth with him in court that nearly verges on buddy comedy.
  62. Tolkien
    Hoult brings a quiet, romantic intensity to the young Tolkien (pronounced ‘Tolkeen’, who knew?), Lily Collins does a lot with a little as his first love Edith, and the Hobbit horde will gobble up all of the easter-egg references peppered throughout the movie.
  63. Pokémon Detective Pikachu
    As the wisecracking voice of Pikachu, Ryan Reynolds deserves some sort of special citation for doing the best he can without Deadpool’s f-bombs (or a decent script) to lean on. But the main problem is that the film’s gumball-mayhem plot is so frenetic that it’s impossible to determine if it makes a lick of sense. Maybe that was the point.
  64. The Intruder
    The whole thing would be more fun, you start to feel, if Intruder just committed fully to the schlocky midnight-movie glory of it all; let Quaid’s lawn-mowing wingnut swing that ax not just for soft vulnerable body parts, but the stars.
  65. Knock Down the House
    Officially, Knock follows four progressive female candidates, though the one who inevitably dominates is Alexandria Ocasio-Cortez, the Bronx-bred waitress–turned–congressional unicorn. It’s a lot of fun to ride along on her wildly improbable rise, from slinging margaritas and scooping out ice buckets to taking down one of the most powerful Democrats in the House.
  66. Non-Fiction
    In the end, Non-Fiction is a warm, humane story that ends on a hopeful note reminiscent of "Hannah and Her Sisters." Life can be a messy business, but every so often it reveals moments of unexpected joy with perfect clarity.
  67. 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."
  68. The White Crow
    There’s something about the movie that makes it all feel as though it’s being presented under glass. Nureyev is more of an idea than an actual flesh and blood character. The only time The White Crow truly shoots off sparks is during its dance sequences. For those brief, beautiful moments, you can almost feel what it must have been like to witness a one-of-a-kind artist at the spellbinding height of his powers taking flight. But then the spell is broken, and the crow falls back to earth.
  69. Body at Brighton Rock
    It takes a promising premise loaded with white-knuckle, things-go-bump-in-the-night possibilities and proceeds to do surprisingly little with them over the course of its slim 87-minute running time.
  70. Avengers: Endgame
    The movie largely delivers, splashing its ambitious three-hour narrative across a sprawling canvas of characters, eras, and not-quite-insurmountable challenges.
  71. Fast Color
    Mbatha-Raw brings a fierce, quiet containment to the lead role, and Hart builds so much mood through her atmospheric cinematography and deliberately slow pacing that it nearly papers over the sketched-in quality of the script. Eventually, though, you start to wish her characters would speak in more than just vague koans and disaster-movie platitudes.
  72. Under the Silver Lake
    No matter how shaggy and self-indulgent it is, or how anticlimactic its big so-what of an ending ends up being, I was never bored. More than that, I kind of dug its sheer swing-for-the-fences insanity.
  73. Someone Great
    If shrewd one-liners and small moments ultimately override the episodic narrative, Someone‘s takeaway — that love is a messy-splendored thing, and “happily ever after” is just a story that hasn’t finished yet — feels refreshing modern and true.
  74. Hail Satan?
    Why end a rallying cry with a question mark? The devil is in the details, or at least in the punctuation of Hail Satan?, a movie that often seems to teeter on the line between doc- and mockumentary — a sincere examination of a social and political movement delivered with just a soupçon of Christopher Guest.
  75. Mary Magdalene
    No one can argue that Mary Magdalene isn’t a well-intentioned film. It’s just that while Mara convinces you that Mary deserves a more contemporary reappraisal, she also lays bare the fact that she deserves a better movie in which to accomplish it.
  76. Little
    The script’s second half drifts, going too soft on teachable moments, but Little still finds its loopy sweet spot: Tom Hanks’ "Big" flipped and recast as pure black-girl magic.
  77. The Man Who Killed Don Quixote
    With Adam Driver and Jonathan Pryce now in the roles once occupied by Johnny Depp and the late Jean Rochefort, Don Quixote turns out to be a pretty typical Gilliam film: whimsically daffy, frantically overstuffed, and art-directed to within in an inch of its life. It’s often transporting, but even more often exhausting.
  78. Dogman
    Marcello may remain a mystery, but the thing that makes Dogman worth checking out is the actor who portrays him. It’s a performance that never barks too loudly, but leaves you with an unmistakable bite.
  79. Her Smell
    What it does have at the center is an actress who commits completely to the mess, even if Perry never quite deigns to show us the underlying talent that might justify her terrible behavior — or at least the loyalty of the countless friends, fans, and enablers who suffer the brunt of it.
  80. Missing Link
    It all goes down easily if not exactly unforgettably; a wispy slice of hirsute whimsy.
  81. Hellboy
    The best thing I can say is: This is a mess that makes no sense, so it’s a cure for the common overly architected superhero film.
  82. The Wind
    The moments that work the best are the ones where Tammi lets the pace and pulse slow down, lets the ominous wind whistle and groan, and it isn’t trying to turn The Wind into Meek’s Cutoff as interpreted by the director of Insidious.
  83. Unicorn Store
    The result is a candy-coated, willfully quirky wisp of a film; like a Michel Gondry fantasy dipped in glitter and rainbow sprinkles.
  84. High Life
    High Life is, at turns, gorgeous, ridiculous, and confounding. Yet, the more you wrestle with it, the more it haunts you. As for Pattinson, who commits as fully as ever, he can rest easy knowing that he’s left his audience another riddle to chew on.
  85. Pet Sematary
    Fortunately, directing duo Kevin Kolsch and Dennis Widmyer get everything absolutely right in their bone-chillingly effective new remake.
  86. The Chaperone
    It’s little more than a handsome snooze that even the Masterpiece Theatre crowd may find a bit too snoozy.
  87. The Beach Bum
    Hard on the heels of January’s god-awful "Serenity," we’re now treated to The Beach Bum — a shambling, self-indulgent inside joke about a perpetually stoned holy fool from the Florida Keys named Moondog. I’ll give you one guess who plays him.
  88. Dumbo
    As a faithful update of a cherished classic, the new Dumbo will get the job done for restless kids on a rainy Saturday afternoon. Still, we’ve come to expect more magic, more bizarro pixie dust from Burton. Maybe that’s why the second marriage between the director and Disney feels more like an uneasy corporate alliance than a union of artistic passion.
  89. Dragged Across Concrete
    It’s a cliché to say that they don’t make movies like this anymore — nasty, nihilistic, nicotine-stained ‘70s death trips. But thank goodness that Zahler’s doing everything in his power to prove that cliché wrong.
  90. Shazam!
    Shazam! is basically two movies in one. One with Levi and his wiseass foster brother (a fresh Jack Dylan Grazer), the other with Strong and all his snarling, computer-generated gobbledygook. And they both have the other in a headlock, wrestling for the soul of the story. I loved one, yawned through the other.
  91. The Dirt
    It’s cartoonish, fast-paced, a bit cheesy, and ridiculously dumb fun.
  92. Us
    Fans of Get Out, Peele’s brilliant, mind-bending 2017 debut, may feel vaguely let down that his follow-up is, for all of its sly humor and high style, a fairly straightforward genre piece, and that its bigger ideas and metaphors don’t feel quite fully baked.
  93. The Aftermath
    Sadly, director James Kent’s sappy and utterly unconvincing new film The Aftermath shows that even the most foolproof ideas wither in the face of turgid, overripe melodrama.
  94. The Highwaymen
    The Highwaymen is a leisurely ride with a pair of actors who know how to do a lot by not doing too much. It won’t reinvent cinema the way that "Bonnie and Clyde" once did. But it’s a ride worth taking nonetheless.
  95. Yardie
    Yardie is a sprawling drug-world saga, but whatever narrative flaws it has are helped out by an infectious selection of dub-heavy reggae tracks and an authentically gritty sense of period and place.
  96. Five Feet Apart
    It’s just another three-hankie teen weepie, albeit one with the saving grace of another excellent Haley Lu Richardson performance that gooses the film just past serviceable into the realm of slightly better than average.
  97. Apollo 11
    The NASA mission at the heart of the must-see documentary Apollo 11 reminds you what it feels to be truly awestruck.
  98. Triple Frontier
    There may be no honor among thieves, but Triple Frontier certainly makes watching them pretty entertaining.
  99. Captain Marvel
    Captain Marvel only figures itself out toward the end, when a couple twists I won’t spoil sharpen the spanning saga into a motley-crew errand of mercy.
  100. Gloria Bell
    Moore — vulnerable but undauntable — lives every moment in her skin, fantastic to the last glorious frame.
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