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. Steve Jobs
    As sharp and slick as Steve Jobs is, it ends up feeling more interested in entertainment than enlightenment.
  2. Marley
    Marley was directed by the gifted Kevin Macdonald (The Last King of Scotland), who shows off his chops not by doing anything dazzling - the film is documentary prose, not poetry - but by treating Marley as a man of depth and nuance, of inner light and shadow.
  3. The Agronomist
    As Demme's audienc we're at the mercy of political passion overshadowed by style.
  4. Touching the Void
    The story itself is so powerful and troubling, the moral geometry so vertiginous, and the photography so big that anything other than the natural sounds of snowfall and footfall is a Flat Earth Society intrusion.
  5. Le Havre
    The setting is somewhere between a post-WWII Brigadoon and the environs of Marcel Carn classic "Children of Paradise," but the story is as timely as this morning's news from Europe.
  6. The Holdovers
    Life is messy, and The Holdovers never loses sight of that truth. But the film never becomes self-indulgent either.
  7. Sound of Metal
    There's an intimately lived-in quality to the film that feels almost documentary.
  8. Embrace of the Serpent
    While its strange rhythms may not be for everyone, it does provide something unusual in today’s movies: a truly original experience for the mind and the soul.
    • 82 Metascore
    • 100 Critic Score
    The Lodger: A Story of the London Fog
    The movie simultaneously exploits and condemns our fear of the other — we suspect the stranger we know nothing about simply because we know nothing about him, and we almost hope that he's the killer because we so desperately want to be right.
    • 82 Metascore
    • 91 Critic Score
    Da 5 Bloods
    Lee’s latest is a crackerjack drama, directed by a filmmaker who remains in total control of his once-in-a-generation gifts and utilizes them to synthesize story and history into something new.
  11. Side by Side
    It's a lesson in character to hear directors from David Lynch (digital believer) to Christopher Nolan (celluloid diehard) spout off.
  12. 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.
  13. Days of Glory
    The ensemble cast shared the best-actor award at the 2006 Cannes film festival -- and rightly so.
  14. My Summer of Love
    Pawlikowski has made a romance that becomes a horror movie in which love, more than anything around it, is a delusionary fever to fear.
  15. Isle of Dogs
    The movie’s darker allegory of persecution and internment isn’t hard to miss, though, and the dogs themselves, with their tactile tufts of fur and Buster Keaton eyes, have an endearing, complicated humanity.
  16. Read My Lips
    Expertly sinister, office-as-devil's-playground French thriller.
  17. The Return
    Can be interpreted politically or even biblically or not at all, as the elemental struggles between dominance and submission, impulse and action, man and nature, father and son, play out to their stunning conclusion.
  18. Mysteries of Lisbon
    This enveloping dream of an epic narrative experiment comes from the great Chilean-born, France-based filmmaker Raúl Ruiz (Time Regained).
  19. Certain Women
    It isn’t until the wonderful Gladstone comes along with her aching tomboy heartache and sad seeking eyes that the film finally burrows below the surface and finally hits a dramatic nerve. Unfortunately, by then, it’s too little too late.
  20. Hands on a Hardbody: The Documentary
    Hands On a Hard Body itself is sometimes as bumpy as a panhandle dirt road, but out of the low-budget roughness and moments of Lettermanesque ain’t-folks-nutty humor, sharp portraits emerge of contestants as well as of the families and friends who massage, feed, and revivify the flagging bodies.
  21. Frozen River
    A tale of ordinary Americans scraping bottom, yet there's a redemption in that. The film asks: If you were this desperate, wouldn't you do the same?
  22. Love Is Strange
    Sachs, Molina, and Lithgow have given adult moviegoers a perfect piece of summer counterprogramming — a warm, humane, resplendent romance to savor while our days are still long.
  23. Navalny
    Navalny has a bracing, heart-racing story to tell, even as the improbable facts rush past. But it never fails to focus on the human man: funny, prickly, and unimaginably brave, down to the last defiant frame.
  24. Late Marriage
    Watch for the director's own mother, Lili Kosashvili, a standout as Zaza's fierce, stately mama.
    • 82 Metascore
    • 91 Reviewed by
      Ty Burr
    Dazed and Confused
    From the opening shot of a burnt-orange GTO cruising a high school parking lot to the strains of Aerosmith's ''Sweet Emotion,'' Richard Linklater's film nails mid-'70s adolescence so precisely that you'll need Clearasil by the end credits.
  26. The Twilight Samurai
    It's wonderful to see a Japanese movie in which a samurai, for all his somber discipline and skill, is also a touching and complicated ordinary man.
  27. Madeline's Madeline
    Madeline is the kind of movie that won’t come anywhere near the mainstream, and clearly wasn’t meant to. But for the dozens of viewers it will almost certainly baffle or exasperate, there will be one or two completely captured by its peculiar magic.
  28. Requiem
    Requiem is drawn from an incident that was also the basis for last year's demon-seed hit, "The Exorcism of Emily Rose."
  29. Captain Phillips
    A great many filmmakers — too many — use handheld cameras to evoke a sensation of raw, this is really happening immediacy. But director Paul Greengrass is unique. At a glance, his live-wire, ragged-camera method may seem overly familiar, but the way he employs it, that method is as expressive as the style of a superb novelist.
  30. The Climb
    And for all the absurdist laughs (and not a few cringes) both men wring from it, their interplay feels both inherently ridiculous and entirely true to life; a bittersweet bromance writ in whiskey and spandex.
  31. A Hero
    Even as the story's inevitable reckoning descends, Farhadi allows his modest morality tale to take on a note of battered, ambiguous hope: a cautionary fable whose purest notes ring poignantly, painfully true.
  32. Three Kings
    So overstuffed with random fireworks that despite its politics, it's easy to imagine the film getting a four-star rave from Bush or Saddam.
  33. The Northman
    Beneath the runes and visions, it's a tale as old as Game of Thrones, and as simple as a story told around a campfire: a ride of the Valkyries spelled out in gore and popcorn.
  34. Stranger by the Lake
    The movie is voyeuristic, sure, but in a way that evokes Alfred Hitchcock's "Rear Window" more than William Friedkin's "Cruising."
  35. Ten Canoes
    A marvel of warm collaboration and shared jokes about husbands and wives, shot both in dreamscape color and pristine black and white.
  36. The Maid
    Raquel's devotion to her employer is barbed with hatred, need, and an insecurity she manifests through constant tiny acts of sabotage that would be funny if they weren't also so chilling -- bordering on psychotic.
  37. The Filth and the Fury
    A great, searching, incendiary chronicle of the Sex Pistols, the razor-hearted visionaries of punk anarchy.
  38. Sick: The Life & Death of Bob Flanagan, Supermasochist
    If you see only one movie this year about a twisted, cuddly, courageous, fatally diseased, self-mutilating love slave, make sure that movie is Sick: The Life and Death of Bob Flanagan, Supermasochist.
  39. Sicario
    With a taut and timely screenplay by Taylor Sheridan, Sicario is a brilliant action thriller with the smarts of a message movie.
  40. George Washington
    A peculiar combination of willful meandering and matter of fact violence, and it occasionally confounds in its attempts to exalt.
  41. Stranded: I've Come from a Plane That Crashed on the Mountains
    At once scary and stirring.
  42. Another Year
    What it does have is an overwhelming bittersweet melancholy at the passing of life from middle age into…well, you could call it late middle age.
  43. Blade Runner 2049
    Even when its emotions risk running as cool as its palette, 2049 reaches for, and finds, something remarkable: the elevation of mainstream moviemaking to high art.
  44. A Mighty Wind
    A movie that re-creates its object of satire with such pitch-perfect flair that it all but erases the line between derision and love.
  45. The Damned United
    What's lost in translation is recovered easily enough in Michael Sheen's astonishing performance as Clough.
  46. Mass
    Mass, as maddening as it can be, still feels like an urgent and necessary movie, if not at all an easy one — and an exceptional opportunity too to watch four great character actors, finally called up from the sidelines to center stage, do what they do.
  47. 13th
    13th is a titanic statement by a major American voice. Viewing — right now — should be mandatory.
  48. Fresh
    After a rich, anecdotal first half, Fresh, inspired by the lessons of his derelict-chess-whiz father (Samuel L. Jackson), ends up setting his own human chess game in motion. You may not believe a minute of it, though you won’t forget Nelson’s face.
  49. Arrival
    That’s the movie’s greatest feint, though: Ultimately, it’s far less interested in galactic destiny than the infinite, uncharted landscape of the human heart.
  50. Juno
    A blithe charmer balanced somewhere between a life-should-be-so-neat fairy tale and a life's-a-real-bitch tragicomedy, leaves political debate at the ticket counter and focuses solely on what it's like for Juno MacGuff to be Juno MacGuff.
  51. Everything Everywhere All at Once
    The actors, particularly the inexhaustible Yeoh, do much of the work to ground what often feels, with its dream logic and layer-cake Inception feints, like a coded story whose secret key you haven't been invited to share.
  52. Blue Valentine
    Blue Valentine is lushly touching and gorgeously told.
  53. Close
    Shot in alternating French and Flemish, it's also quintessentially European, but the language of his storytelling is the most universal kind: a moving and often sublime piece of small-scale filmmaking, told with uncommon empathy.
  54. Master and Commander: The Far Side of the World
    A story in full billow; it sails through stretches of bloody battle, anxious waiting, wine-soaked relaxation, and marvelous scientific discoveries by the remarkable Maturin (Paul Bettany, well matched again with his ''A Beautiful Mind'' costar).
  55. The Secret of Kells
    Regrettably, the film's story is so busy yet flat that the effect isn't magical -- it's more like watching the tale of some very enchanted wallpaper.
  56. Top Five
    As brilliantly funny as Chris Rock is, he's never been able to replicate the high-voltage danger and electricity of his stand-up act on the big screen. But in his latest film, the sharply satirical Top Five, he not only makes a case for why he should be a bona fide movie star, he also proves he's a writer-director to be reckoned with.
  57. Pete Seeger: The Power of Song
    Between clips of the concerts Seeger staged as hootenanny hosannas, the film chronicles how the blacklisted star stuck true to his beliefs -- which were more patriotic than those of his accusers.
  58. A Simple Plan
    Lean, elegant, and emotionally complex -- a marvel of backwoods classicism.
  59. Katyn
    The great Polish director Andrzej Wajda musters the power of classical filmmaking and personal emotional investment to dramatize a stunning atrocity long covered up.
  60. Coming Home
    Yimou’s lovely import is the kind of lump-in-your-throat drama they don’t make much anymore, at least in Hollywood. Watching Coming Home you’ll wonder why that is — and who we can write a letter to to fix it.
  61. Living in Oblivion
    Living in Oblivion celebrates the very act of filmmaking as grand folly, a triumph of absurdist heroism.
  62. Coco
    The vividness of the narrative never quite matches the riotous swirl of color and culture on screen — and neither do the songs, sadly, for how central they are to the story. Instead, Coco settles into something gentler but still irrefutably sweet: a movie that plays safe with the status quo, even as it breaks with it.
  63. Bridge of Spies
    Bridge of Spies is like Capra with a dash of le Carré.
    • 81 Metascore
    • 100 Critic Score
    Driving Miss Daisy
    Director Bruce Beresford's tightly focused adaptation retains all the impact of its Pulitzer Prize-winning stage original. Jessica Tandy and Morgan Freeman give exceptional performances as the aging widow and the sage black chauffeur who enlightens her in the segregated South.
  65. Shaun the Sheep Movie
    In a bold move that pays off, the movie jettisons dialogue altogether and tells its whole story through barn-animal noises, goofy sound effects, and sight gags so silly they’d make Benny Hill spin in sped-up ecstasy. The effect is contagiously cute.
  66. White Material
    French mood-and-feeling master filmmaker Claire Denis returns to the Africa of her youth for an intense, mysterious drama exploring revolution and loss.
  67. The Station Agent
    That his (writer-director Tom McCarthy) strange, often funny film is so well-disciplined and deadpan refreshing is an achievement.
  68. Foxcatcher
    The most haunting thing in Bennett Miller's latest film, Foxcatcher, is Steve Carell. That's right, the same rubber-faced comedian who gave us the dim-witted meteorologist of "Anchorman" and the oblivious corner-office boob of "The Office."
  69. Bamako
    The serious accusations are leavened by the moments of brimming, illogical, intimate neighborly dailiness the filmmaker also captures with warmth and infectious high spirits.
  70. Autumn Tale
    Rohmer treasures the undervalued glories of discourse and the intimacy of conversation over the obviousness of action or sexual display.
  71. Beginners
    The movie darts, dreams, and sometimes seems to dance. The great Plummer, meanwhile, creates an inspiring, fully rounded man in late bloom, and McGregor responds with a performance to match.
  72. Bright Star
    Campion's big-sisterly encouragement of Cornish's lovely, openhearted performance -- and Whishaw's well-matched response -- results in a character instantly, intimately recognizable to anyone remembering her own first love.
  73. Jackie
    In its audacious strangeness, the movie manages to do something history hardly ever gets to: surprise us.
  74. Tropical Malady
    It took me two viewings to enjoy the landscape of Weerasethakul's mysterious jungle -- so very thick, steamy, and foreign -- without wishing for clearer trail markers.
  75. Weekend
    British filmmaker Andrew Haigh's background in editing (from Gladiator to Mister Lonely) is evident in the casual beauty of moments that only appear "found," giving Weekend an engrossing documentary feel.
  76. Happiness
    Like David Lynch, Quentin Tarantino, and Paul Thomas Anderson, Solondz revels in ironic pop passion. It's a signature moment when he transforms Air Supply's "All Out of Love" into a geek-love rhapsody.
  77. 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.
  78. Inherent Vice
    Anderson's film is something to be experienced, like a psychedelic drug trip where the journey trumps the destination. Unfortunately, his journey just didn't do it for me.
  79. Three Identical Strangers
    The best documentaries reveal the ways in which truth can be stranger (and wilder and weirder) than fiction. And director Tim Wardle’s stunning and tragic Sundance sensation, Three Identical Strangers, is stranger (and wilder and weirder) than most.
  80. Il Divo
    You need know nothing about Italian politics to completely enjoy the fantastical, Fellini-fied, tragi-comic, biographical fun-for-all Il Divo.
  81. Fish Tank
    The amazingly natural first-timer was discovered, in a gift of publicity-ready truth, while having an argument with her boyfriend at a train station.
  82. No
    The movie — the third in a trilogy of powerful political dramas from Larraín, including "Tony Manero" and "Post Mortem" — uses period detail, archival footage, and '80s-era technology to create an excellently authentic, bleached, crummy-looking document of a great democratic accomplishment.
  83. Riders of Justice
    A kind of popcorn movie that doesn't just let wit and storytelling serve as the garnish for big-bang action, but makes that its actual priority.
  84. Best Worst Thing That Ever Could Have Happened
    A love letter to the theater—and a deeply poignant one at that—Lonny Price’s sentimental documentary Best Worst Thing That Ever Could Have Happened… is a bittersweet gem.
  85. My Architect
    The son is obsessive and petulant, punishing and self-pitying, and by the time he gets to a talk with his hurt old mother, we understand why.
  86. Hot Fuzz
    In the very funny cop comedy Hot Fuzz, overachieving London police officer Nicholas Angel (Simon Pegg) commits a very British sin: He's too good.
  87. Police, Adjective
    Yet another outstanding little movie in the exciting Romanian New Wave.
  88. Four Weddings and a Funeral
    Grant is the rare actor who can mix the characteristics of sex appeal and ambivalence in believable, rather than irritating, proportions.
  89. Django Unchained
    DiCaprio, having a blast, makes Candie the equivalent of Waltz's Nazi in "Inglourious Basterds": a racist villain who mesmerizes us by elevating his ideology into a puckishly thought-out vision of the world. Yet Django isn't nearly the film that Inglourious was.
  90. Sister
    The high-low setting effectively reinforces the emotional geography of both lost souls. Gillian Anderson makes a brief, well-placed appearance as one of the rich.
    • 81 Metascore
    • 83 Critic Score
    The Hill
    Rebel-with-a-cause clichés are mostly averted by sturdy acting, Oswald Morris’ vivid black-and-white cinematography, and a satisfyingly bleak conclusion.
  92. A Girl Walks Home Alone at Night
    Shot in inky black and white, Ana Lily Amirpour's fractured Farsi fright flick has a spooky, otherworldly quality. It's like an early Jim Jarmusch indie set in Little Tehran at 4 a.m.
  93. 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.
  94. Wattstax (re-released)
    I wish I could say that Wattstax was an ecstatic soul celebration, but most of the performances, while enjoyable, fall short of memorable.
  95. The Big Short
    I suppose you could call The Big Short a comedy. It’s very, very funny. But it’s also a tragedy. Behind every easy drive-by laugh is a sincere holler of outrage.
  96. The Devil's Miner
    This beautiful, terrible story is not easily forgotten.
  97. Moana
    Moana has a lot of the hallmarks of your classic Disney adventure — the goofy animal sidekicks, the feel-good messages — but its heroine is something new, a smart and fiery deviation from your standard European lovestruck princesses.
  98. The Wailing
    Despite its epic length, The Wailing never bores as Na slathers his tale with generous supplies of atmosphere and awfulness.
  99. Chris & Don. A Love Story
    Their love story was inevitably complicated. And so is the documentary Chris & Don: A Love Story -- not simply a love letter to love -- by Guido Santi and Tina Mascara.
  100. Still Life
    More than a million people have been displaced in central China in the cause of generating electrical power to meet the needs of the future; Jia's flowing river of a picture washes over a few of them as they adjust to life's currents in the present.
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