Entertainment Weekly's Scores

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For 7,798 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 7798
  2. Mixed: 2,080 out of 7798
  3. Negative: 760 out of 7798
7798 movie reviews
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  1. The Jungle Book
    The animals are dignified cuties and the humans are boisterous archetypes, and if you want the heart to have more darkness, you’re barking up the wrong vine.
  2. Single White Female
    A clever, by-the-numbers gothic thriller. Single White Female is entertaining claptrap.
  3. Spring Breakers
    Harmony Korine's first ''mainstream'' movie, Spring Breakers, is by far the best thing he's ever done.
  4. Fingernails
    There are interesting concepts at play in the ways Fingernails explores loneliness and desire. Notably, the test doesn't account for long-term compatibility but the more intangible presence of love. But the film doesn't go far enough in the ways it questions the science and accuracy of the test.
    • 63 Metascore
    • 83 Critic Score
    The Man with the Golden Arm
    Though director Otto Preminger’s decision to use an RKO set instead of Chicago locations initially jars, he makes it work, amping up the claustrophobic tension in beautifully choreographed long takes.
  6. Someone Great
    If shrewd one-liners and small moments ultimately override the episodic narrative, Someone‘s takeaway — that love is a messy-splendored thing, and “happily ever after” is just a story that hasn’t finished yet — feels refreshing modern and true.
  7. The Cat's Meow
    Peter Bogdanovich taps deep into the Hearst mystique, entertainingly reenacting a historic scandal.
  8. Everything Put Together
    The movie is ''Rosemary's Suburban Baby'' without a witch in sight.
  9. Happy Times
    Had O. Henry set his stories in China, he might have come up with Happy Times, a comedy for which the adjective ''bittersweet'' could have been invented.
  10. Open Water
    In spirit, Open Water reduces us to children peering through our fingers, waiting for the horrid deliverance we're not quite sure we want to see.
  11. Rio
    The soundtrack, overseen by Sergio Mendes, has a few lively bossa nova moments, but not nearly enough.
  12. The Great Buck Howard
    The Great Buck Howard is in love with kitsch, the backwaters of showbiz, and true magic. It's a wee charmer that left me enchanted.
  13. Triangle of Sadness
    Triangle hits more marks than it misses, and in a somber, often underwhelming season of would-be arthouse hits, the movie is a bona-fide trip: not the funhouse mirror we need for these ridiculous times, maybe, but one we deserve.
  14. Let Him Go
    As an instrument of righteousness and retribution, Let Him Go can feel both familiar and at times shockingly brutal, especially in its final climactic moments. Still, there's blunt power in the execution, most of it concentrated in Bezucha's moody big-sky atmosphere, and in the seasoned professionals he's found to tell the tale.
  15. Eden
    Eden lacks the technique to give its stifled domestic-erotic feelings their full power.
  16. Things We Lost in the Fire
    No matter what panache Bier adds, Things We Lost is still a TV-scaled tear-duct drama about a beautiful woman who pushes past sadness in her House & Garden home.
  17. City of Men
    As heavy with message as any Hollywood delinquent drama of the late '50s.
  18. Cry-Baby
    There are some funny moments, but this may be the first time the director’s scabrous, anarchic wit seems vaguely depressed.
  19. World War Z
    It's scary good fun.
  20. Maria
    This is a portrait of all that an artist must sacrifice for their work and the ways that is amplified further as a female artist. It's a fable of fame and control, but it's also an ode to a woman who could only find peace by singing her heart out.
  21. Hannah Takes the Stairs
    What defines the slacker-geek twentysomething men and women who wander through Joe Swanberg's too-hip-to-be-romantic comedy Hannah Takes the Stairsis that they treat their libidos as minor accessories -- only to stammer through every casual conversation as if they were on a first Internet date.
  22. The Foot Fist Way
    Not short on broad physical humor. But Simmons is a brilliantly detailed grotesque capable of withstanding comparison to his most obvious inspiration, Ricky Gervais' "Office" boss David Brent.
    • 63 Metascore
    • 83 Critic Score
    Until the End of the World
    Wenders’ weird and wired view of the near future tempts replay as often as the sensational soundtrack (U2, Talking Heads, Patti Smith).
  24. I Capture the Castle
    Smith's book is a charmer, but the keys to this ''Castle'' have been misplaced.
  25. Life
    Life desperately wants to let Murphy and Lawrence be actors, but it can't imagine them as anything more than rowdy showmen. That's a kind of prison as well.
  26. The Hole in the Ground
    The Hole in the Ground never seeks to differentiate itself from the established horror movie aesthetic: we get creepy jangling lullaby music, a decrepitly old hooded women mumbling to herself ominously, bare feet on creaking wooden floors, broken mirrors.
  27. The Upside of Anger
    The Upside of Anger is overly therapized, yet Costner and Allen show you what it means not just to play a role but to inhabit it.
  28. The Dreamers
    In The Dreamers, Bertolucci wants to take us back to a more revolutionary time, but mostly he ends up recalling the faded revolution of his own glory days.
  29. Kit Kittredge: An American Girl
    A smart, playful, informative pleasure.
  30. Sleeping Dogs Lie
    Hamilton, in her movie debut, is a find: the kinkstress next door.
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