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. Babe
    A witty, stylish, beautifully made charmer of a family picture.
  2. Kill Bill: Vol. 2
    There's no denying that when it comes to communicating a certain delirious romanticism of character shaped by thousands of hours spent sitting in the dark, the artist who made this showpiece is a master.
  3. Vera Drake
    Stunning and compassionate period drama.
  4. Private Life
    It’s about perseverance, compassion, and empathy.
  5. Moonage Daydream
    Pruning would hamper the unencumbered risk-taking on display, which extends to some atmospheric animation (as it did with Morgen's Kurt Cobain: Montage of Heck), and instantly vaults the effort to the top of the Bowie docs. The music itself, gorgeously remixed by Bowie's longtime producer and friend Tony Visconti, has never sounded better or stranger, with isolations of instrumental passages that stick in mind.
  6. BlacKkKlansman
    It’s easily the director’s best movie since 2002’s "25th Hour."
  7. Lake of Fire
    It's impossible to watch Tony Kaye's theatrically supercharged, equal-opportunity button-pusher without experiencing a welter of emotions -- which is just what the filmmaker planned.
  8. Under the Skin
    As a film, Under the Skin is hauntingly freaky and ultimately frustrating. But as a movie star's gamble to be seen as more than just a moneymaking member of the Marvel universe, it's a home run.
  9. Red Army
    Thanks to Gabe Polsky's enthralling new documentary, we finally get to see these athletes for who they really were—it humanizes a group of men who were cast by history in the role of villains.
  10. The Post
    If you look at The Post next to something like All the President’s Men, you see the difference between having a story passively explained to you and actively helping to untangle it. That’s a small quibble with an urgent and impeccably acted film. But it’s also the difference between a very good movie and a great one.
  11. The Flat
    I will salute the deftness and intelligence with which Goldfinger observes the reactions of the living to the revelations of the dead.
  12. The Magdalene Sisters
    The rare movie that turns cruelty into art.
    • 83 Metascore
    • 100 Critic Score
    Superman II
    It boasts a more consistent tone, better special effects (such as villains throwing buses around like paper planes), and even an affecting love story.
  14. Tyson
    The result is flashy, but the meaning is a bit of a bob and weave.
  15. Eastern Promises
    It's an academic meditation in underworld-thriller drag -- a movie that looks about as close to a straight-ahead, down-and-dirty genre entertainment as anything the director has made since his exploding-head horror days.
  16. Footnote
    Footnote is itself a perfect little piece of Talmud, full of text, commentary, and colorful argument.
  17. Free Solo
    In the end, the answer may be only slightly deeper than “because it’s there”, but for 100 nerve-racking minutes, Free Solo brings us one man’s suicidal quest with sympathy, grace, and a ton of adrenalin.
  18. Trouble the Water
    Essential, unique viewing.
  19. Saint Maud
    The film loses steam when the plot drifts the women apart, but Clark's fearsome performance anchors the surreal final act. Her body is a stage for Saint Maud's demonic dance.
  20. Mustang
    It’s not hard to see why Mustang has been dubbed the “Turkish Virgin Suicides.” Like Sofia Coppola’s dreamy, unsettling 1999 debut, it’s another first film by a young female director that focuses in feverish close-up on the adolescent awakening of five restless, radiant sisters — and the ruin that follows when their family tries to contain it.
  21. Palm Springs
    At its core, the movie is too in love with love — or at least its messy, time-jumping ideal of it — for that kind of true discomfort comedy. That makes it less brave, maybe, but in this moment we're living in, who could begrudge a happy ending?
  22. James White
    In the best scene, which comes late in the film, James holds his dying mother and shares a vision of their future that they both know she’ll never get to see.
  23. It Follows
    A dizzyingly tense and creepy workout.
  24. Driveways
    A gentle, almost willfully recessive story about love and loss and all the ways that people find to share the burden of them both, one unhurried day at a time.
  25. Don't Think Twice
    Don’t Think Twice isn’t all envy and self-doubt; Birbiglia has also crafted a love letter to improv, capturing the tempestuous and unforgiving art form in a way that only an insider could.
  26. 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.
  27. Sweeney Todd: The Demon Barber of Fleet Street
    The movie is so finely minced a mixture of Sondheim's original melodrama and Burton's signature spicing that it's difficult to think of any other filmmaker so naturally suited for the job.
  28. Charade
    Hepburn doesn’t know whom to trust and neither does the audience, which is what makes this Hitchcock-lite thriller so much fun. The chemistry between the two leads — something surprisingly missing between Depp and Jolie — is electric.
    • 83 Metascore
    • 91 Critic Score
    Intervista
    Sublime moments encounter clunkiness and bad overdubbing until it’s hard to know what’s on purpose, but you certainly envy the Fellini family/crew their experiences in service of a man who so appreciated his life’s pursuit (or what he called ”this alibi”).
  30. Locke
    Yes, Locke is a bit of a storytelling stunt: For the entirety of the movie, Ivan is the only character on screen. But even with nothing to cut away to and no flashbacks to offer context, the film manages to stay as tight as a vise.
  31. 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.
  32. The Apostle
    Unusual, unhurried tour de force--a seamless match of strong artistic vision and physical performance. [19 Dec 1997, p. 52]
    • Entertainment Weekly
  33. Election
    Alexander Payne's scathing, subtle, and complexly funny tragicomedy builds a perfect, off-kilter universe--it's a first cousin to "Rushmore."
  34. Memento
    Memento, which may be the ultimate existential thriller, has a spooky repetitive urgency that takes on the clarity of a dream.
  35. Creed
    In the end it’s a movie about legacy, and it more than preserves the Rocky franchise’s. It reminds you why it was great in the first place.
  36. Pride & Prejudice
    Keira Knightley, in a witty, vibrant, altogether superb performance, plays Lizzie's sparky, questing nature as a matter of the deepest personal sacrifice.
  37. Leaving Las Vegas
    Dark and giddy at the same time, Leaving Las Vegas takes us into dreamy, intoxicated places that no movie about an alcoholic has gone before.
  38. Transit
    Petzold walks the tricky tightrope of being both timeless and timely, the performances (especially those of Rogowski and Beer) are chillingly good, and the ambiguous final shot is damn near perfect. In Transit, the past is prologue… and it’s devastating.
  39. Venus
    Venus has a swank pedigree, but in this case that doesn't mean it's much more than a quaint machine to elicit tears and awards.
  40. 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.
  41. The Killing of Two Lovers
    With [Crawford's] proud, wounded performance at the center, the film's raw vérité style and unforced naturalism do more than set a mood; in its best moments, it breaks your heart.
  42. Flirting with Disaster
    Flirting is a little too weighed down with stage business to soar. But episode for episode, it's one of the ha-ha-funniest movies currently around.
  43. The Second Mother
    This Brazilian drama offers a nuanced, often funny look at family and social status, and Casé’s performance is both heartbreaking and hilarious.
  44. Three Times
    Do Hou's films deserve to be seen? Absolutely, if only to end the myth that they're too perfect for this world.
  45. Ajami
    Emotionally mesmerizing.
  46. 127 Hours
    A true-life adventure that turns into a one-man disaster movie - and the darker it gets, the more enthralling it becomes.
  47. Tell No One
    Tell No One's plot thickens in about five ways at once, but they're all connected. The issue of how is a riddle that does more than tease --gives you an itch you won't want to stop scratching.
  48. The Illusionist
    The many fans of the uniquely droll 2003 animation Oscar nominee "The Triplets of Belleville" will recognize the inventive hand-drawn sensibilities of French filmmaker Sylvain Chomet in his loving and lovely new feature The Illusionist.
  49. The Deep Blue Sea
    In this typically exquisite, nuanced, memory-infused work from master British filmmaker Terence Davies, we believe every minute of the torment of Hester (Rachel Weisz).
  50. The End of the Tour
    Like "Almost Famous," Ponsoldt’s film gets at something deep and true about the journalist/subject dynamic and the phony intimacy and tiny betrayals implicit in it. It’s a profoundly moving story about a towering talent who seemed to feel too much and judge himself too harshly to stick around for long. What a shame.
  51. Enron: The Smartest Guys in the Room
    A deeply straightforward yet beautifully crafted documentary.
  52. The Shawshank Redemption
    Shouldering a laconic-good-guy, neo- Gary Cooper role, Robbins never quite makes emotional contact with the audience.
    • 82 Metascore
    • 91 Critic Score
    Thieves Like Us
    Anchored by Keith Carradine and Shelley Duvall’s romance and full of Altman’s typical aural flourishes (old-time radio shows serve as the soundtrack), Thieves Like Us proves that it takes both joy and melancholy to equal nostalgia.
  54. War for the Planet of the Apes
    Like Caesar and company, the films seem to be getting more intelligent and human as they evolve.
  55. Duma
    Ballard connects you to the beauteous inner calm of the wild, even if audiences today are looking for a lot less calm.
  56. The Constant Gardener
    The movie is smart, serious, and adult about something that matters, but not at the expense of a kind of awful, sensual revelry as le Carré's capacious plot hurtles to its big finish.
  57. You Won't Be Alone
    The movie also gets deeper and more emotional as it goes, becoming a metaphor for restless empathy and non-binary points of view. You Won't Be Alone is a fitting title, bearing the ominous warning of a juicy thriller, but also a subtle sense of compassion. It's a big world and you won't be alone, if you let the witches in.
  58. Short Term 12
    Brie Larson, as the caring but tormented Grace (who's pregnant and doesn't know if she has the faith to have her baby), and John Gallagher Jr., as her gentle-dweeb fellow worker Mason (who fears his love can't save her), show you what emotionally naked acting is all about.
  59. Two of Us
    Meneghetti, a first-time but remarkably assured filmmaker, gives Two a dreamlike realism, letting the score go ragged in its tensest moments and swooping in artfully on aching closeups and empty spaces.
  60. A History of Violence
    David Cronenberg's brilliant movie -- without a doubt one of the very best of the year.
  61. Star Wars: Episode V - The Empire Strikes Back
    The storytelling is the series' best, with a zingy balance of drama, humor, and Deep Thoughts (in a screenplay by Leigh Brackett and Lawrence Kasdan, directed with confident exuberance by Irvin Kershner). [Special Edition]
  62. Sugar
    The film's style is so ''objective'' it's a bit subdued, yet this is a sports drama of total originality, as well as the most authentic inside view of the immigrant experience the movies have given us in quite a while.
  63. Marwencol
    This tender documentary considers the mysteries of both art and coping.
  64. The Wind That Shakes the Barley
    If Loach had given full voice to each side of this division, he could have made a great film -- maybe THE great film -- about the Irish struggle.
  65. The Lobster
    If you’re willing to surrender to his singular vision, you might just walk out of the theater seeing the world in a new way — which is probably more than you can expect from the new Kevin Hart comedy.
  66. Forrest Gump
    It is also glib, shallow, and monotonous, a movie that spends so much time sanctifying its hero that, despite his "innocence," he ends up seeming about as vulnerable as Superman.
  67. The Nightmare Before Christmas
    Is it any wonder this Nightmare never coalesces? He couldn’t make up his mind about whether to be naughty or nice.
  68. Paris Is Burning
    Paris Is Burning is the most passionately empathetic piece of documentary filmmaking I’ve seen since Streetwise, the brilliant portrait of homeless teens in Seattle, and The Decline of Western Civilization Part II, Penelope Spheeris’ sly and galvanizing heavy-metal collage.
  69. Breaking the Waves
    True art is a journey to somewhere you've never been, and there has never been a movie quite like Breaking the Waves.
  70. The Squid and the Whale
    In hovering, The Squid and the Whale becomes its own realistic display of family entropy, as cautionary as it is educational.
  71. Winged Migration
    Mesmerizing.
  72. School of Rock
    The School of Rock was made by gifted veterans of the American indie scene, but it's still the most unlikely great movie of the year.
  73. Star Trek
    The clever and infectious reboot of the amazingly enduring sci-fi classic, director J.J. Abrams crafts an origin myth that avoids any hint of the origin doldrums. That's because he rewires us back into the original Star Trek's primal appeal.
  74. A Quiet Place
    When A Quiet Place has one finger on the panic button and the other on mute, it’s a nervy, terrifying thrill.
  75. The Namesake
    Moving and marvelous new cross-cultural family saga.
  76. Frances Ha
    Gerwig, who previously starred in Baumbach's "Greenberg," is charmingly awkward. And Sumner (Sting's daughter) is an ace with deadpan one-liners.
  77. C'mon C'mon
    Another rich creation in Mills' bittersweet, gently profound collisions of art and life.
  78. Hunger
    A disturbingly avid re-creation of the last six weeks in the life and slow, self-imposed wasting of Irish hunger striker Bobby Sands.
  79. Howl's Moving Castle
    The worldview, the sense of childlike fun shaded with adult melancholy, and the joyful, serene attention to visual oddity and wordless beauty could only be made in Japan. And, specifically, made by Hayao Miyazaki.
  80. Cold Comfort Farm
    Around town, Stephen Fry ("Peter's Friends"), as a fluty artiste, dogs Flora with his devotion and declares, "I'm engorgedly in love with you!" That's how I feel about this gem.
    • 82 Metascore
    • 91 Critic Score
    Black Sabbath
    Three tales of expertly building suspense. [10 Jul 2013, Issue#1268]
    • Entertainment Weekly
  82. Crimson Gold
    A fable of money as the root of jealousy, discord, violence, but the film's slippery fascination as sociological exposé is the flip side of its thinness as drama.
  83. Dear Zachary: A Letter to a Son About His Father
    The facts are so awful that Dear Zacharycan be forgiven much of its antsiness--as a memorial, as a condolence to Bagby’s parents (who became activists for judicial reform in their late son's honor), and as a howl of grief.
  84. Anvil! The Story of Anvil
    It's a hilarious, and unexpectedly moving, documentary about the greatest metal band you've probably never heard of.
  85. The Trip
    The Trip looks like a lark - and is - yet there's a sneaky resonance to the way it celebrates what acting means to these two rogue cutups.
  86. Harry Potter and the Prisoner of Azkaban
    Shot in spooky gradations of silver and shadow, The Prisoner of Azkaban is the first movie in the series with fear and wonder in its bones, and genuine fun, too.
  87. Michael Clayton
    It's better than good; it's such a crackling and mature and accomplished movie that it just about restores your faith.
  88. Downfall
    If I respect Downfall more than I was enthralled by it, that's because its portayal stops short of revelation. Once you witness Hitler's denial, the film has little more to say about him.
  89. Knives Out
    A silly, stabby, supremely clever whodunnit that only really suffers from having too little room for each of its talented players to fully register in the film’s limited run time.
  90. The Spectacular Now
    The Spectacular Now doesn't shrink from being an all-out teen movie (it has hookups and a senior prom). Yet it's one of the rare truly soulful and authentic teen movies. It's about the experience of being caught on the cusp and not knowing which way you'll land.
  91. Face/Off
    But it is the steady accretion of hundreds of small moments in this elegant, high-spirited, intensely satisfying production -- the director's third American movie, but the first to approach the dazzle of his Hong Kong stuff -- that, toted up, makes everything right about this des- perately welcome thriller.
  92. Let the Right One In
    If random arty blood thrills are your cup of fear, perhaps you'll enjoy Let the Right One In, a Swedish head-scratcher that has a few creepy images but very little holding them together.
  93. Rams
    The film’s glacial pacing and drily absurd tone mimic their relationship with a bit too much discipline.
  94. Certified Copy
    The end will haunt you.
  95. The Celebration
    Out of the zany strictures of Dogma 95...Danish newcomer Thomas Vinterberg has made a funny, volatile, visually dynamic story about the unraveling of one extended family during the course of a patriarchal 60th-birthday dinner.
    • 82 Metascore
    • 100 Critic Score
    Broadway Danny Rose
    Although the laughs are tempered with a seedy undercurrent and a lump-in-the-throat ending, Allen has rarely been funnier.
  97. Taxi to the Dark Side
    Where "No End" is cool and measured, Taxi is hot, anguished, and sometimes as difficult to watch as pictures of torture ought to be.
  98. Repo Man
    Unlike Cox’s sneering Sid and Nancy, it’s defined more by a tone of affectionate disaffection than antipathy, celebrating a friendlier species of anarchy.
  99. Challengers
    Anchored by three arresting performances and playfully experimental direction, Challengers is fresh, exhilarating, and energetic.
  100. Marjorie Prime
    Marjorie Prime in itself feels not unlike Walter’s hologram — almost real and almost human, but not quite flesh and blood.
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