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 2.1 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. The Matador
    The cinematography is consistently hipster handsome, the script is bracing in its lewdness, and Brosnan adds no unnecessary weight to Noble's meaninglessness.
    • 65 Metascore
    • 75 Critic Score
    Maudie
    Like one of the many flowers Maud painted in the single-room, seaside shack she and Everett shared, Maudie is breezy and digestible. On an aesthetic level, Maud’s creations aren’t that interesting, but Maudie cherishes the intent of the artist above all, acknowledging that a true work of art is often found in exploring why the brush is moved in the first place.
  3. The Town Is Quiet
    It doesn't quite wash. Guédiguian has a telling instinct for the buried shame of working-class squalor, but his film is inflated with a doom that feels programmatic rather than earned.
  4. Dick
    A gaily funny, shrewdly inventive satire.
  5. Pola X
    There's only one Carax, uncompromisingly ambiguous.
  6. Panic Room
    Soon enough a pointed ode to New York City nerve-rack and survival skills dissolves into a far more average, less compelling, and sometimes just slapdash-vicious cat-and-mouse game.
    • 65 Metascore
    • 83 Critic Score
    Easy Virtue
    The courtroom scene that opens the movie is both exciting and technically marvelous, cleverly integrating flashbacks to clearly communicate the misfortune the main character has endured. The domestic melodrama that follows isn't as flashy or fast-paced, but it's perfectly fine, highlighting the cruelty of the wealthy class.
  8. Bad News Bears
    New-era losers (the cast is a cheery scrum of relaxed kids, led by genuine whiz pitcher Sammi Kane Kraft in the role created by Tatum O'Neal) now include a rotten kid in a wheelchair.
  9. High-Rise
    There are certain movies that you really want to like based on their ambition, or their weirdness, or their ambitious weirdness, and ultimately you just can’t. Ben Wheatley’s High-Rise is one of those movies.
  10. Timecode
    A voyeur's delight.
    • 65 Metascore
    • 91 Critic Score
    The Boys in the Band
    This heavy-handed relic of a self-loathing time proves surprisingly relevant — not to mention funny, disturbing, and deeply moving.
  12. Miss Americana
    You wish you’d seen more of this Taylor a long time ago. But that’s the point of the whole movie, maybe: She was always there; it just took her 30 years to get to here.
    • 65 Metascore
    • 33 Critic Score
    Mortal Thoughts
    Directed by Alan Rudolph (Choose Me), this tedious film, rife with flashbacks and slow-motion sequences that underscore the already overbearing plot and exaggerated characters, fails both as a mystery and as a statement on marital violence.
  14. Wild Grass
    Wild Grass is itself odd stuff: Sometimes it's as playful as Marguerite's crayon-red corona of frizzy hair, and other times as autumnal as the sight of Georges alone in his study, feeling stuck.
  15. Twisters
    There's a ton of technobabble that you have to take on faith, but Jones and Powell do more than sell it; they make it compelling.
  16. Dan in Real Life
    A nimble and supple and moving comedy.
  17. Get Him to the Greek
    A clever rock-world satire, with some lively take-offs on the TMZ-gossip magazine circus, but it's also too long, and by the time of the inevitable Las Vegas sequence, it starts to grow repetitive.
  18. The Powerpuff Girls
    The three kindergarteners make up for their lack of irony with laser-power eyes, radical post-post-postfeminist blithe confidence, and some of the coolest retro-futuristic animation style this side of Gerald McBoing-Boing.
  19. 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.
  20. Saving Face
    The writer-director, Alice Wu, fudges a lot of the basics -- I never believed the heroine was really a physician -- but the final, proudly public girl-on-girl smooch still jerks a tear.
  21. Cadillac Records
    It's an enjoyable ramble, with a feel for what made the early days of rock as wild as any that followed.
  22. Ali
    For everything it gets right, Ali, following its superb first hour, begins to lose the vision, clarity, and structure necessary to bring its hero into full focus.
  23. Twelve and Holding
    The young cast is terrific, giving the stories unearned weight.
  24. Crooklyn
    Crooklyn has a warm, nostalgic, spilling-over-the-edges effusiveness that is new to Lee's work. At the same time, the movie often seems every bit as high-strung as the family it's about.
  25. The Good Nurse
    It feels like a faint insult to say that The Good Nurse could be a premium-cable product from long ago, one of those lightly prestige-y Sunday-night movies Showtime or HBO used to make. But it's also one crafted with sturdy, consummate skill, burnished by two Oscar winners who don't stint on their performances just because most people will end up seeing Nurse on a small screen.
  26. Magazine Dreams
    Even as the pacing falters, Majors is impossible to look away from: a man who desperately needs the world to see him — and if they refuse, to feel his pain.
  27. Clerks II
    An agreeable mischievous romp.
  28. Tetro
    Like Orson Welles, Francis Ford Coppola has gone from being the filmmaker of his time to becoming a make-it-up-as-you-go-along indie free-shooter.
  29. Unknown White Male
    Unknown White Male is framed as a look at the mystery of identity, but there's a bizarre neutrality to the movie, since it makes Bruce's life just as detached and remote to us as it seems to him.
  30. The Black Phone
    Blunt but brutally effective little slice of supernatural horror.
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