Entertainment Weekly's Scores

Select another publication »
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
view
per page
  1. Barbie
    It's Gerwig's care and attention to detail that gives Barbie an actual point of view, elevating it beyond every other cynical, IP-driven cash grab.
  2. Minority Report
    The mechanical beauty and android possibilities of the future excite the filmmaker, and that's where Minority Report becomes an alluring postcard from the edge. But it's an edge over which Spielberg never seems to want to step.
  3. 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.
  4. The Simpsons Movie
    The best thing about this long-awaited feature-length project, a classic Simpsonian interplay of family psychology, social commentary, and brainy visual and verbal jokes tossed off at rat-a-tat speed, is how relaxed it manages to be.
  5. Riding Giants
    Traces the sport to its Polynesian beginnings, then zooms in on the genesis of 20th- century Southern California surf culture -- the boards, the bikinis, the laid-back cowabunga.
  6. Boy and the World
    With his crudely drawn stick-figure body and big, round Wiffle-ball head, Cuca is a bundle of jitterbug energy and boundless imagination. Like Riley’s in "Inside Out," his noggin is a wondrous place to spend an hour or two.
  7. Room 237
    Room 237 makes perfect sense of "The Shining" because, even more than "The Shining" itself, it places you right inside the logic of how an insane person thinks.
  8. The Eternal Daughter
    Obliquely related to her recent movies, Hogg's latest is either her slyest joke to date, or another swerve in an especially fecund career phase.
  9. Lady Chatterley
    There's an adult life force in every frame of this luxuriously paced work, even in the sight of rain and a lady's stocking.
  10. A Beautiful Day in the Neighborhood
    Hanks plays Fred as he lays: a sort of secular Buddha in a red knit cardigan whose gently probing questions and Zen proclamations work as a slow dissolving agent on Lloyd’s resistance.
  11. The Forty-Year-Old Version
    A ramshackle, winningly raw coming-of-middle-age shot in vivid black and white but told in emotional Technicolor.
  12. Lucky
    Directed by another great character actor, John Carroll Lynch (Zodiac, American Horror Story), Lucky is an elegiac and ultimately affirming meditation on mortality, regret, and smiling through hardship. You couldn’t ask for a more poignant swan song from a more singular artist.
  13. The Band's Visit
    Something marvelous happens as the filmmaker, in his first feature, expertly metes out small scenes of communication between people taught, for generations, to be wary of one another: This Band swings with the rhythms of hope.
  14. Dead Man Walking
    A bold, searching, wrenching experience. It may be the most complexly impassioned message movie Hollywood has ever made.
    • Entertainment Weekly
  15. Tokyo Sonata
    Known for distinctive horror movies like "Cure" and "Pulse," inventive Japanese filmmaker Kiyoshi Kurosawa finds just the right melancholy tone to suit a new and all too familiar kind of horror: economic downsizing.
  16. Lorenzo's Oil
    Lorenzo’s Oil is at once harrowing and riveting. In the age of AIDS, it has telling observations to make about how the institutionalized complacency of the medical establishment actually works. As remarkable a job as Miller and the actors have done, though, the film begins to wear you down. At 2 hours and 15 minutes, it’s far too long, and (more crucially) it has a flat, repetitive structure.
  17. Mad God
    For anyone who loves stop-motion animation, the first 40 minutes of this bleak adventure will scratch your trippy itch and then some.
  18. Tristram Shandy: A Cock and Bull Story
    The first great, mind-tickling treat of the new movie year.
  19. Good Night, and Good Luck.
    Good Night, and Good Luck has a small-scale time-capsule fascination, yet its hermeticism is really a form of moral caution -- a way of keeping the issues neat, the liberal idealism untainted.
  20. Human Resources
    Acompelling, cant free drama about clashing class systems and challenged family relationships that's all the more engrossing for its organic, near documentary style.
  21. Deep Water
    A spooky, moving documentary.
  22. Lorna's Silence
    A stunning study of one desperate woman's conscience.
  23. Deliverance
    With his Mephisto-phelean swagger and chewy, good ol’ boy drawl, Reynolds is a chest-beating revelation.
  24. Clouds of Sils Maria
    If Ingmar Bergman had directed a remake of "All About Eve," it might have looked something like Clouds of Sils Maria. Mysterious and narratively playful, Olivier Assayas’ film features a trio of finely calibrated female performances that examine the psychological toll of being an actress — or working for one.
  25. Coraline
    This thrilling stop-motion animated adventure is a high point in Selick's career of creating handcrafted wonderlands of beauty blended with deep, disconcerting creepiness.
  26. Demon
    A so-so meditation on historical amnesia. It’s also so weighted down with mysticism and metaphor it forgets to quicken your pulse or whiten your knuckles.
  27. Little Miss Sunshine
    If you're going to get on the wavelength of Little Miss Sunshine, you've got to be able to enjoy a comedy in which the characters fit into hermetically cute, predetermined sitcom slots.
  28. The Endless
    Benson and Moorhead masterfully ratchet up the sense of unease, before the third act takes a turn for the truly terrifying.
  29. Sweetgrass
    Sweetgrass is austere enough to make Frederick Wiseman's films look like Jersey Shore episodes, yet it has its own suspense.
  30. The Old Man & the Gun
    The film is fizzy, lightweight fun with some real moments of genuine heart.
  31. Tarzan
    One of the great virtues of Disney's most elegant animated ''classic'' in years is how blessedly sermon-free this zippy, dignified retelling of Edgar Rice Burroughs' ripping 1914 yarn is.
    • 80 Metascore
    • 83 Critic Score
    The War of the Roses
    DeVito doesn't hesitate to send the camera anywhere to goose the humor.
    • Entertainment Weekly
  33. The Other Side of the Wind
    The Other Side of the Wind (both the movie and the movie-within-a-movie) is a hypnotic, magical mess of a film. It’s a lot of story and not enough of one. Still, there are shots that are so haunting and beautifully composed that you want to get out of your seat and take up residence in them.
  34. West of Memphis
    The film casts a hypnotic spell all its own. It artfully sketches out the events for anyone who's coming in cold, but basically, its strategy is to take what we already know and go deeper.
  35. Frost/Nixon
    Surges with an energy and visual verve that improve the play and enhance the themes of dramatist Peter Morgan's script.
  36. Last Resort
    Moving and eerily beautiful.
  37. Wildlife
    Wildlife is confident and patient and mature. It may be a small film, but its power is massive. Especially its very last shot, which is so devastating it has the force of a sucker punch.
  38. Eat Drink Man Woman
    The personalities in this well-drawn family combine to produce subtle new flavors — and in the end, no one is spiced as you’d imagined they’d be.
  39. Senna
    With exemplary use of archival footage, director Asif Kapadia expertly contrasts episodes of adrenaline-rush speed with moments of reflective slow motion to capture the addictive thrill and danger of the sport, as well as the personal values of the humble, spiritual sportsman.
  40. The Piano Teacher
    The audience for this grimly disquieting film is, or ought to be, self-selecting.
  41. Monsters, Inc.
    Monsters, Inc. has got that swing, that zippity, multilevel awareness of kids'-eye sensibilities and adult-pitched humor.
  42. The Sessions
    The Sessions is first and foremost about Hawkes' virtuoso performance, one of those "My Left Foot"-y transformations that make audiences verklemmt and generate awards talk.
  43. Mank
    The story then becomes less a forensic accounting of a masterpiece than a bittersweet ode to a certain slice of old Hollywood: part love letter, part cautionary tale, and still somehow a mystery.
  44. March of the Penguins
    Luc Jacquet's exquisitely shot eye-of-God study of a year in the lives of these distinctive birds is a nature film built with a feel for the epic and a love of operatic narrative.
  45. Jonestown: The Life and Death of Peoples Temple
    The Peoples Temple congregation was sizably African-American. But when it comes to how those followers turned into a zombie Kool-Aid death cult, Jonestown: The Life and Death of Peoples Temple leaves you with more questions than you went in with.
  46. Spring Forward
    Great, restrained performances of Beatty and Schreiber, delicately framed by the filmmaker's taste for visual compositions.
  47. Two Family House
    The charm and art of De Felitta's gentle domestic sketch expand far beyond biographical borders.
  48. Annihilation
    It’s the kind of film that leaves you dazzled and a little shell-shocked — and not entirely sure whether your own moviegoing DNA hasn’t been altered a little in the process.
    • 79 Metascore
    • 91 Critic Score
    An Unmarried Woman
    In An Unmarried Woman, Paul Mazursky’s realist look at the dissolution of a marriage, Jill Clayburgh brought its effects to near-harrowing life.
  50. City of God
    Undeniably powerful, the work also comes with its own built-in shield against feeling any one character's difficulties too deeply, or for too long.
  51. Pariah
    Rees presents this vivid, hidden culture with raw honesty.
    • 79 Metascore
    • 75 Critic Score
    Lolita
    Stanley Kubrick’s adaptation of Vladimir Nabokov’s wicked, witty hymn to forbidden love loses some bite in the journey from novel to the screen, but it’s got its plummy pleasures, including a wonderfully subtle James Mason as Humbert Humbert, obsessed with the delicious Sue Lyon as the 14-year-old Lolita (bumped up from 12 in the book), and a marvelously blowzy Shelley Winters, hilarious as Lolita’s sexually voracious mom.
  53. Pride
    Celebrated theater director Mathew Warchus (Matilda, The Norman Conquests) unstiffens many of the script's clichés by affecting a sparkling, musical tone — producers have stated their intentions to bring Pride to Broadway, à la fellow miners-strike movie "Billy Elliot."
  54. Hotel Rwanda
    A strange history lesson that leaves us more overlectured than properly overwhelmed.
  55. Eureka
    Slow -- sometimes maddeningly, soporifically so.
    • 79 Metascore
    • 83 Critic Score
    El Cid
    El Cid remains a visually sumptuous film graced with a passionate score by Miklos Rozsa.
  57. Whose Streets?
    It’s stronger as a collection of Ferguson voices and figures, such as rapper Tef Poe, who quiets a crowd in one scene by warning, “You ain’t gonna outshoot [the police].” In moments like those, Whose Streets? is a tragic yet essential portrait of a community under siege.
  58. Cyrano de Bergerac
    Director Jean-Paul Rappeneau makes the mistake of treating Cyrano de Bergerac as though it were some lost Shakespearean tragedy instead of the wonderfully gimmicky (and familiar) tearjerker it is.
  59. Joan Rivers: A Piece of Work
    She's a teller of hilarious gutbucket truths as surely as Lenny Bruce and Richard Pryor ever were. Yet while they were consumed by their demons, Rivers is just the opposite.
  60. Baran
    There are moments in Baran as wholesomely heart-tugging as any involving Charlie Chaplin and a blind girl, but the film is saved from aren't-kids-cute sentimentality by a warmth that isn't faked and a stately sense of composition.
  61. Chunhyangdyun
    It's a good bet the average American moviegoer, however familiar with the rhythms of cinematic global culture, has never experienced such a handsomely self contained world.
  62. High Fidelity
    For all its music-trivia affection, High Fidelity is finally a pretty thin melody.
  63. Coriolanus
    With its warring factions, citizen uprisings, guerrilla insurgencies, political intrigue, bloody warfare, family tensions, and homoerotic subtext, Coriolanus is one of the year's best political thrillers.
  64. Bad Education
    Director Cory Finley (who also helmed 2017’s great, underappreciated "Thoroughbreds") brings a light touch to Mike Makowsky’s script, nimbly balancing broader comedy and pathos.
  65. A Most Violent Year
    A Most Violent Year isn't an explosive film. It builds slowly, simmering toward an inevitable day of reckoning. It's the kind of uncompromising movie we don't see much of anymore. And it makes you nostalgic for a time when the world was worse and the movies were better.
  66. I Am Love
    The film is almost deliriously stylish, which helps mask the silliness. But the bellowing music, by John Adams, is infuriatingly intrusive -- which undoes the visual good.
  67. Gone Girl
    Anyone who loved Gone Girl the book will walk out of Gone Girl the movie with a sick grin on their face. You can stop being nervous.
  68. The Central Park Five
    This patient, righteous documentary by Ken Burns, David McMahon, and Sarah Burns recounts the story of justice undone (a serial rapist confessed) with extensive interviews, a thorough use of archival footage, and a less-than felicitous use of ominous-rumble music that unnecessarily insists, Isn't this an outrage?
  69. Wagner's Dream
    The result is an engrossing chronicle of creative people under pressure, a movie about the madness of opera for which no knowledge of opera is required for full enjoyment.
  70. Kinsey
    Kinsey is patient and educational and never (darn it) rude or shocking.
  71. Flux Gourmet
    Give yourself over to the movie's absorbing sense of process and rehearsal, complete with notes of humor that never quite puncture into mockery, and you'll have a better time with it.
  72. Gabrielle
    Greggory anchors Gabrielle in manly bewilderment and rage, while Huppert claws the title character's way to self-awareness.
  73. Beautiful People
    There's a bravura recklessness to Beautiful People that perfectly fits its subject.
  74. Sexy Beast
    Carries so much impacted menace and visual narrative gamesmanship that it brought back some of the excitement I felt nearly a decade ago watching Quentin Tarantino's ''Reservoir Dogs.''
  75. Midnight Cowboy
    Even as a kid, I could see that Midnight Cowboy’s true subject isn’t decadence but loneliness...Midnight Cowboy’s peep-show vision of Manhattan lowlife may no longer be shocking, but what is shocking, in 1994, is to see a major studio film linger this lovingly on characters who have nothing to offer the audience but their own lost souls.
  76. Dear White People
    The movie finds real power in its climax, a party that turns into a nightmarish orgy of leering white kids in blackface. And the end-credit photos of real parties just like it at schools across the country are a stark reminder of the ugliness that Dear White People, flawed as it is, wants to confront.
  77. Broken Flowers
    A movie of uncommon sweetness and delight.
  78. Silence
    At 160 stately, glacial minutes, it’s also an endurance test — one that can feel like its own act of faith to pass.
  79. I've Loved You So Long
    This is a movie about actors acting; who cares why Juliette was in the pen?
  80. Hitchcock/Truffaut
    The best part is getting to hear both men talk about their art in exhaustive, almost fetishistic detail. If you’re a classic movie buff, this is a must-see.
  81. Flags of Our Fathers
    The trouble is, he's preaching to the choir -- or, at least, to a culture, profoundly influenced by Tom Brokaw's "The Greatest Generation" and Steven Spielberg's "Saving Private Ryan," that has already absorbed the lesson that ''the Good War,'' while it may have been noble, was never less than hell.
  82. Reprise
    Reprise is kissed with the breath of French New Wave sensibility, sweet with verve and a love of forward movement. The mood of joy in the midst of youthful pain is enhanced by the freshness of the first-time lead actors.
    • 79 Metascore
    • 91 Critic Score
    The Winslow Boy
    This genteel period piece invites a typically Mametian tension between its characters' stylized manners and their underlying motivations.
  84. What Time Is It Over There?
    Tsai builds this shimmering story with deft, deadpan wit and a warm, understated love of the absurd, both in life and afterlife.
  85. Before Sunrise
    If Linklater goes to a bit of an extreme here, it's in making both characters so intelligent and sincere, so ardent and giving, that they seem a little too good to believe.
  86. Look at Me
    The wry filmmaker has created an urbane society of family and friends as ridiculously pretentious and hypocritical as they are cultured, accomplished, and posh.
  87. Lone Star
    The biggest problem with Lone Star is that colorful Charley Wade isn't the center of the movie -- it's bland Sam Deeds. Cooper isn't a compelling enough movie star to carry us along some of the film's more languid twists and turns.
  88. Drive
    Among Gosling's many star-making qualities is his nuanced mastery, since "The Believer," of a facial expression of infinitely adaptable, imperturbable, sustained calm that can read as chilling or ardent, hard or soft, as the role demands.
  89. The Fighter
    This one, as thoughtful as it is rousing, scores a TKO.
  90. The Five Obstructions
    As he rises to each challenge, you realize that von Trier, the most exalted of prankish sadists, has orchestrated the filmmaking equivalent of the story of Job. The Five Obstructions glories in art, life, and the faith that binds them.
  91. Beasts of No Nation
    Cary Fukunaga’s stark, beautifully shot drama was likely never meant to be a blockbuster; its brutal account of a child soldier in an unnamed African country is far too discomfiting for wider audiences. It absolutely does belong on a big screen, though, and more important, it just deserves to be seen.
  92. Iron Monkey
    Gravity-defying kung fu choreography.
  93. An Angel at My Table
    Told in Campion’s fancifully fractured style, An Angel at My Table is very accomplished, but it’s also an epic act of perversity: a 2-hour-and-38-minute movie about a wallflower.
  94. The Ballad of Buster Scruggs
    Two of the chapters stand with some of the best work the merry-prankster filmmakers have ever done, while the rest are varying degrees of… fine.
  95. Godzilla
    Godzilla is still the most awesome of tacky movie monsters.
  96. The Visitor
    This audaciously issues-loaded indie drama works, improbably and entirely, on account of the marvelous, often familiar-looking, rarely starring character actor Richard Jenkins and his perfect performance as a stodgy, widowed economics professor.
  97. Green Room
    Part of being in a punk band involves having to play some pretty hostile venues. But the one in writer-director Jeremy Saulnier’s new white-knuckle thriller, Green Room, makes the typical mosh-pit dive look like a kindergarten run by nuns.
  98. Iron Man
    Even at his coolest, Downey's Iron Man remains a ghostly, neurotic crusader -- one whose life, in the Marvel tradition, has become a grand spectacle of overcompensation.
  99. Silent Light
    The stab at sublimity-by-proxy doesn't take.
  100. Control Room
    Anxiety-provoking documentary.
Page:

Top Trailers

See all »
See all trailers »