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
7797 movie reviews
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  1. Mandy
    It’s a fully immersive experience that begs to be anchored by someone who’s lit from within by blinding neon, but who also, amidst all of the nutty squalls of genre scuzz can still wear his broken heart on his sleeve. And, these days, that list is a short one. In fact, there’s really only one name on it. Thankfully, Cosmatos found him.
  2. Destroyer
    Kidman, to her credit, goes all in, but it’s hard to ignore the neon sign over her head that keeps flashing “See? I’m Acting!”
  3. The Predator
    The Predator isn’t a dumb movie exactly. But it’s not a smart one either. What it is, is something uncomfortably in between: a satire of a franchise that was already in on its own macho joke.
  4. Can You Ever Forgive Me?
    Can You Ever Forgive Me?’s premise is so low-key outrageous, it would almost have to be true. And it is: a shaggy, endearingly dour portrait of the kind of true-life eccentric New York hardly seems to make anymore.
  5. The Sisters Brothers
    Sisters gets sadder and more eccentric as it goes along, and the ending actually tugs sweetly on a few heart strings, though it’s also hard not to wonder why exactly, with all the Westerns already in the cannon, this movie got made — other than to give its crew of excellent actors a chance to put on their boots and ride off, cock-eyed and whimsical, into some kind of sunset.
  6. Bel Canto
    Director Paul Weitz is mostly known for lighter, more observational stories like "About a Boy" and "Mozart in the Jungle," and the strongest moments in Bel Canto are the small ones.
  7. If Beale Street Could Talk
    In some ways Beale feels less like a movie than a well-staged, meticulously shot play; a period piece that floats beyond its specific time and place and into the realm of allegory.
  8. The Hate U Give
    If Tillman ties it all together a little neatly, he’s already served up a message that feels too fresh and important to dismiss — not of hate but of hope, and faith that even if sharing these stories can’t magically fix what’s broken, telling them still matters.
    • 67 Metascore
    • 83 Critic Score
    A Simple Favor
    The film is full of panache, from its sexy French score to its glistening gin martinis, and it weaponizes style, using it to keep audiences off balance as the mystery unfolds.
  10. Halloween
    Long live Michael Myers, so maybe someone can finally kill him — in a big, funny, scary, squishy, super-meta sequel that brings it all back to the iconic 1978 original.
  11. Beautiful Boy
    Beautiful Boy keeps you strung on that line for nearly all of its run time, and sometimes it feels less like a movie than an endurance test — one that’s lovingly, meticulously made but almost too much like real life: an impressionistic series of highs and lows, relapses and recoveries, without the necessary anchor of a cohesive arc.
  12. Roma
    Experiencing the lovely and lyrical Roma, you get the impression that at age 56, Cuarón not only wanted to get these still-vivid memories down on film, but that he also needed to. You’ll be glad he did. Because movies with this much empathy and humanity don’t come along very often.
  13. Peppermint
    All of us, but especially Jennifer Garner, deserve better.
  14. Outlaw King
    Mackenzie falls a little too in love with his battle scenes; by the fourth clash of blood and swords it all starts to feel like déjà vu, with different horses. At nearly two and a half hours, there’s clearly room to trim.... But he also films it beautifully in the natural light of candles, torches, and overcast skies, and there’s a solidness to the old-fashioned conventions of his storytelling.
  15. Hal
    Hal gives us a lot to take in, whether you’re an aficionado or new to Ashby’s work. Scott has done movie fans a real service. She’s finally given an under-sung filmmaking giant his well-deserved close-up at long last.
  16. Bisbee '17
    There’s no denying that Bisbee ’17 has some moments of deep elegiac power or, for that matter, that Greene’s ambition is boundless. But by the end, I often felt like his blurring of the past and the present was an experiment that was easier to admire than be swept up by.
  17. The Nun
    When it leans into its camp, (I.e. when the French-Canadian “Frenchie” is on screen), The Nun comes closest to its ideal form of go-to midnight-movie, the fun younger cousin of the Conjuring movies with less build-up but more of the money shots you’ll come to a theater to see.
  18. Sierra Burgess Is a Loser
    Even if you’ve seen it all before, Sierra Burgess will still satisfy your end-of-summer sweet tooth.
  19. The Old Man & the Gun
    The film is fizzy, lightweight fun with some real moments of genuine heart.
  20. The Favourite
    This couldn’t be further from the corsets and curtsies of your typical Hollywood prestige period piece. It’s more like "All About Eve" directed by a Satyricon-era Fellini all hopped up with enough sex, deviance, hypocrisy, decadence, and spicy profanity to make your average Masterpiece Theatre patron reach into their PBS tote bag for some smelling salts.
  21. First Man
    It’s very much its own thing – part harrowing and exhilarating space epic on a grand canvas and part intimate character study in miniature. And while both of those elements are stunning, especially when you consider just how early Chazelle is in his career as a director, the character sections are slightly less successful.
  22. A Star Is Born
    It’s Cooper, in his directing debut, who ultimately has to carry the film from both sides.
  23. Destination Wedding
    The script, by writer-director Victor Levin (Survivor’s Remorse, Mad About You) comes on like a rom-com David Mamet freight train; its verbal turns are so wildly overwritten that all the actors can really do is hold on to the wheel well, racing through reams of ratatat dialogue. But Ryder and Reeves surrender to it gamely, and sprinkle a sort of movie-star pixie dust over the too-muchness of the text.
  24. The Children Act
    Even the cast’s uniform excellence can’t quite crack Children’s outer carapace, or bring full life to Fiona’s emotional struggle as she’s forced to confront her own failings. Instead the story drifts iceberg-like toward its carefully muted conclusion, only a small part of its true scope visible above a beautiful, chilly surface.
  25. Kin
    Kin is a movie about a child with an all-powerful firearm that makes him feel important and special and powerful. On a one-to-ten scale of moral fecklessness, this ranks about a thousand.
  26. The Happytime Murders
    There are a few spiky moments of sick, WTF fun (a bout of rough sex that ends with a Silly String climax; the first time a puppet drops an F-bomb), but mostly it feels like a promising idea poorly executed.
  27. Operation Finale
    It’s the psychological duel between the terrific Isaac and Kingsley as captor and prisoner that delivers the film’s most charged jolts of electricity.
  28. 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.
  29. Papillon
    As for the new Papillon, it wisely doubles down on high adventure, but it’s still as lifeless as its predecessor. Just in different ways.
  30. Minding the Gap
    It’s heartbreaking, raw, and true. But it never veers into exploitation or becomes oppressively maudlin.
  31. Blaze
    Blaze isn’t a flashy movie, which seems about right since Hawke’s closest mentors and collaborators (Richard Linklater, for example) aren’t known for their look-at-me personalities. Like the real-life Foley, they’re storytellers and yarn spinners first and foremost, fame and fortune be damned.
  32. To All the Boys I've Loved Before
    A lightweight teen rom-com that isn’t likely to clear up anyone’s grasp of what the studio stands for, but it is breezy and charming enough to merit a watch contingent on reasonable expectations.
  33. Mile 22
    It’s both a bit confusing and a bit confused. Fortunately, it’s also loaded with some of the crunchiest action scenes since the John Wick movies thanks to Indonesian martial-arts maestro Iko Uwais.
  34. The Wife
    Welsh actor Pryce (Game of Thrones) is fantastic — a fussy, adulterous egoist in the Great Man mold of Norman Mailer or Philip Roth, with his own touchingly real frailties. But the movie belongs to Close, whose face, as she is courted and patronized, sexually betrayed and damned with faint praise, is a marvel of emotional intelligence and control.
  35. Juliet, Naked
    Much like the book, the plot is essentially a wisp, and Byrne is far too luminous for her sad-sack role. But Juliet still feels winning; the small, sweet grace note on a familiar melody.
  36. BlacKkKlansman
    It’s easily the director’s best movie since 2002’s "25th Hour."
  37. Skate Kitchen
    Shot by cinematographer Shabier Kirchner in hazy, endless-summer half-light, Kitchen finds a kind of urban poetry in the swooping parabolas of the skate park and the rumbling scrape of wheels on pavement.
  38. Crazy Rich Asians
    If the storyline is strictly something old and borrowed, though, a peek at the crazy-rich rainbow of Asian experience — even one as razzle-dazzlingly too-much as this one — feels not just new, but way overdue.
  39. The Meg
    It is ridiculous, cheesy popcorn fun. And Statham, God bless him, knows exactly what kind of guilty pleasure he’s signed on for — Sharknado with a bigger budget and a much bigger monster.
  40. 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.
  41. Christopher Robin
    Forster (Finding Neverland, World War Z) never quite finds the alchemy in Milne’s timeless tales, or the melancholy sweetness of his being-and-nothingness koans. Instead it’s just an earnest tribute, tastefully faithful to the source — and flatter, somehow, than the story ever was on the page.
  42. The Darkest Minds
    There is no resolution for any of the story lines haphazardly dangling like electrical wires. No villain is defeated, no secrets are explained. When the credits roll, there has been no catharsis for the 90 minutes of movie preceding it, which makes it all feel like a protracted introductory sequence for a sequel that, god willing, will never come.
  43. Like Father
    The movie’s arc is too conventional by half, but the appeal of the two main actors keeps it (sorry) afloat, maybe more than it should.
  44. Never Goin' Back
    The two leads have chemistry and a rebellious sort of charisma. Too bad they’re given such wheezy clichés to work with.
  45. Teen Titans Go! To the Movies
    The meta jokes flow like Mountain Dew — this is a rollicking, goofy superhero send-up that never overstays its welcome.
  46. Scotty and the Secret History of Hollywood
    He’s not just a name-dropper, but a master storyteller. Whether you believe every spicy morsel that drops from his lips is entirely up to you.
  47. Puzzle
    Director Marc Turtletaub pulls thoughtful, carefully shaded performances from Denman, Khan, and, most of all, Scottish actress Macdonald (Boardwalk Empire, No Country for Old Men), who refuses to let Agnes be an easy avatar for midlife longing and suburban discontent.
  48. The Spy Who Dumped Me
    The new comedy, The Spy Who Dumped Me, is a mirthless, dead-on-arrival dud.
  49. Damsel
    Far from a perfect film — the morals are clunky, the pacing awkward at points — Damsel still manages to achieve the rare distinction of being both ambitious and just so much goddam fun.
  50. Hot Summer Nights
    Bynum shoots it all in high pop-pastiche style, with a near-constant barrage of neon freeze frames, slow-pan party shots, and romantic montages set to an eclectic, decade-spanning soundtrack (Tarzan Boy, David Bowie, Roxette, Suicide).
  51. 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.
  52. Far from the Tree
    All of the families in Far From the Tree are compelling — their trials unimaginable and their spirits indomitable.
  53. Blindspotting
    Over 95 minutes, Blindspotting builds tension like a simmering cauldron on the verge of boiling over. Its themes of racial prejudice, class conflict, friendship and loyalty find a voice that’s both disarmingly funny and heartbreakingly tragic.
  54. Dark Money
    Kimberly Reed’s taut documentary is also damning, clear-eyed, and as gripping as any John Grisham thriller.
  55. Don't Worry, He Won't Get Far on Foot
    One imagines the real John Callahan, who died in 2010, would have appreciated a film that wasn’t afraid to call him an a—hole
  56. The Equalizer 2
    Apart from the film’s occasional spasms of rousing, lightning-choreographed ultraviolence (a confrontation with an apartment full of date-raping finance bros is particularly great), the film is too enamored with its own morose righteousness to be very engaging.
  57. Mamma Mia! Here We Go Again
    A shiny-bright jukebox musical with a heart of gold and a plot of pure polyester, Mamma Mia! Here We Go Again works hard to be the feel-giddy movie experience of the summer. And it mostly succeeds in its own glittery, aggressively winsome way.
  58. Mission: Impossible – Fallout
    It’s the kind of pure, straight-no-chaser pop fun that not only keeps taking your breath away over and over again, it restores your occasionally shaky faith in summer blockbusters.
  59. Generation Wealth
    Eventually, it’s Wealth‘s inherent too-muchness that undoes its own best intentions.
  60. Eighth Grade
    Eighth Grade is an absolute delight that stings with truth. It’s heartbreaking, heartwarming, and a total charmer.
  61. Hotel Transylvania 3: Summer Vacation
    The harmless high jinks all go down easily enough without being particularly memorable or pushing the art form past the expected.
  62. Skyscraper
    No one churns out big-budget action mediocrity these days as regularly as Dwayne Johnson. So now, just three months after his giant gorilla-a-go-go Rampage, we have Skyscraper — a film that suggests what would happen if you took The Towering Inferno and Die Hard and stripped them of the qualities that made both work.
  63. Woman Walks Ahead
    Woman could use some of the quieter character nuance of a movie like last year’s "Wind River," another fact-based drama that reflected the struggle of indigenous people with a sensitive, unvarnished kind of naturalism; White’s well-meant version is undoubtedly incomplete, and gilded with a certain amount of Hollywood silliness.
  64. The Legacy of a Whitetail Deer Hunter
    After about 10 minutes, The Legacy of a Whitetail Deer Hunter feels borderline promising. After 80, it feels like a blown opportunity.
  65. Whitney
    Whitney feels like the kind of film anyone who cared at all about her should see: the fullest portrait yet — if one that will always, inevitably fall short — of a singular artist and human being who may have eluded understanding in the end, but still gave the world far more than she ever got back.
  66. Under the Tree
    By trading in all its intrigue and emotional subtleties for the gotcha moment it’s clearly been waiting for, Tree wins the battle but loses the war.
  67. The First Purge
    Where the Purge movies could have been about the slow — and then terrifyingly rapid — dismissal of morality and social norms, like "High-Rise," it chooses instead to skate through those haunted house scares and clunky symbolism.
  68. Sorry to Bother You
    Exploding with infectious originality, Boots Riley’s Sorry to Bother You may be the most wonderfully bizarre film of 2018.
  69. 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.
  70. Uncle Drew
    You more or less know what this soft-drink-sponsored movie is going to be as soon as the lights start to dim. What makes it worth recommending is that it ends up being just slightly more than that by the time the lights come back on.
  71. Leave No Trace
    It’s a slower (at times probably too slow) and more contemplative movie than its predecessor, but it’s no less haunting, thanks to unshakable performances from Ben Foster and Thomasin McKenzie.
  72. Ant-Man and the Wasp
    Ant-Man and the Wasp is working too hard to look unconvincingly relaxed.
  73. Boundaries
    It all bumps along, as road trips do, through silliness and boredom and occasional, unexpected charm. But Feste’s story never really gets the rhythms right, and Boundaries finally reaches the end of the road, feeling like nothing so much as a missed opportunity.
  74. Sicario: Day of the Soldado
    Day of the Soldado is our generation’s Rambo: First Blood, Part 2, a half-mad sequel transforming a traumatized political parable into a fantasy of all-American murder gods.
  75. The Catcher Was a Spy
    Sadly, it isn’t a great movie. It’s a disappointingly mild period thriller that’s light on thrills. Even Paul Rudd, one of the most likable actors in Hollywood, can’t rescue it.
  76. Gotti
    The problem with the film’s buckshot “this-happened-and-then-that-happened” storyline is that Connolly keeps hurtling ahead from scene to scene trying to touch every base in Gotti’s life of crime without every letting any one moment breathe long enough for it to resonate.
  77. Set It Up
    The true strength of the film lies in Zoey Deutch’s magnetic performance. It’s impossible to watch this film and not come to the conclusion that the actress (Vampire Academy) is a soon-to-be major star, as soon as she hits on a major project that makes use of her effortless humor and charisma.
  78. Tag
    It’s a ridiculously raunchy and very, very sweet comedy about staying connected to the most important people in your life.
  79. SuperFly
    Neither as satisfying as the remake of "Shaft" nor as objectionable as the remake of "Death Wish," the second coming of Superfly wants to tap into that same ’70s grindhouse allure and put a similarly slick modern gloss on it. The results are pretty mixed.
  80. The Year of Spectacular Men
    A dizzy, fizzy comedy with occasional flashes of real wit.
  81. Incredibles 2
    Bird’s made the weirdest Pixar movie ever, revolutionary and retro, an anti-authoritarian ode to good parenting.
  82. Hereditary
    Hereditary doesn’t reinvent horror cinema so much as polish the cobwebs off of its classics, strip them for parts, and refashion them into something that feels terrifyingly fresh and new.
  83. Won't You Be My Neighbor?
    It’s like a security blanket for our troubled times.
  84. Nancy
    It is not a thriller nor even, really, a mystery. Instead, much like a play, it forces you to pay attention to the nuances of each of the actors’ (very well-done) performances, to sit with the characters quietly as if in a sitting room too formal to do much else.
  85. Alex Strangelove
    Subtle it is not; Strangelove can feel aggressively self-aware, nouveau John Hughes with a pocket full of f-bombs and carefully worked one-liners.
  86. Hotel Artemis
    Writer-director Drew Pearce must have done something right to get a cast like this to sign on for what is essentially a loving, highly stylized homage to the kind of camp apocalyptia John Carpenter used to make; the only thing missing here is an Ernest Borgnine cameo and Kurt Russell scowling in an eye patch.
  87. 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.
  88. Jurassic World: Fallen Kingdom
    Howard, thankfully, gets more to do than the last go round (and in combat boots, no less!), Pratt busts out his Indiana Jones cocktail of can-do heroism and deadpan jokiness, and Bayona and his screenwriters (Trevorrow and Derek Connolly) test the laws of incredulity with varying degrees of success. At least, until the final half hour when forehead-slapping absurdity finally win out. Up until then, Fallen Kingdom is exactly the kind of escapist summer behemoth you want it to be.
  89. Action Point
    Even the stunts – the whole raison d’etre of a movie like this – seem tame and staged. It cheaps out on the good stuff. And for a movie with so little going for it besides the threat of danger, there’s no excuse for Action Point to play it this safe.
  90. Adrift
    It’s all done expertly and with an unexpectedly deft sleight-of-hand twist in the homestretch that proves once again that Kormakur is the kind of overachieving director that one pigeonholes at their own risk. He has a knack for making the familiar feel more surprising than it is.
  91. Upgrade
    As a movie, it’s the cinematic equivalent of paint-by-numbers: competent, attractive even, but take a single step closer and the lines peek through. There’s no need to pay money to go see Upgrade: If you select it on a plane and sleep through 60% of it, you’ve seen it in its entirety.
  92. How to Talk to Girls at Parties
    What saves it is the casting (Fanning especially is fantastic, both winsome and wonderfully strange) and Mitchell’s obvious fondness for his milieu. His giddy, knowingly camp direction has a sort of glitter-stick DIY spirit that keeps the movie aloft long after the story itself has run out of road.
  93. American Animals
    A movie seemingly custom-made for the era of alternative facts, American Animals feels like a new kind of true-crime thriller: one that shamelessly rewrites its truths in real time as it goes.
  94. Ibiza
    More than anything, the film feels a bit like a trial balloon for the relative star power of Jacobs, who’s been promoted from best friend to headliner here.
  95. First Reformed
    First Reformed is a bleak, punishing movie and the furthest thing imaginable from an easy crowdpleaser. But Hawke juices it with an austere sense of grace.
  96. Book Club
    In an industry that defines “mature audiences” as anyone old enough to vote, a movie centered entirely on women over 65 — a sex comedy, no less — feels like some kind of small Hollywood miracle.
  97. On Chesil Beach
    Director Dominic Cooke is mostly known for his Olivier Award-winning theater work, but Chesil never feels stagey or static. It’s beautifully shot, and he pulls lovely performances from both his leads.
  98. Pope Francis - A Man of His Word
    Whether he’s washing the feet of prisoners in America, visiting sick children in Africa, or praying with hurricane victims in Asia, Pope Francis doesn’t merely preach empathy, responsibility, and accountability, he lives it.
  99. 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.
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