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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    • 77 Metascore
    • 75 Critic Score
    Zero Days
    A sense of duty and morals doesn’t render Gibney infallible as a storyteller, however, as even passion for justice sometimes breeds overindulgence when you’re drunk with power and a camera.
  2. Morgan
    Is Morgan hardwired for violence, or is “she” just a synthetic naïf with a bloody glitch? Taylor-Joy and the rest of the ace cast make you care about the answer to that question. The script? Less so.
  3. Anthropoid
    British director Sean Ellis has a knack for staging the film’s early plotting-the-scheme scenes in dimly lit, monochrome interiors, but the storytelling is disappointingly square.
  4. Atomic Blonde
    The pounding ’80s soundtrack (New Order, Depeche Mode, Ministry) couldn’t be cooler, the ultraviolence is relentlessly brutal, and Theron’s guns-and-garters wardrobe is sexy as hell. So it’s a shame that apart from the gender flip, the plot is so derivative.
  5. Life, Animated
    The Suskinds’ humongous hearts are obviously in the right place and their openness is to be admired and encouraged — even if a book, more than a movie, remains the better venue to fairly and honestly tell Owen’s extraordinary story.
  6. Wicked
    For now, like Denis Villeneuve’s first Dune, this Wicked manages to end on a note of “to be continued” while still feeling like a complete story. If only its imagery had a little more magic!
  7. Absolutely Fabulous: The Movie
    Ultimately though, it’s all secondary to Saunders and Lumley’s riotous chemistry together.
  8. The Foreigner
    Chan has a bit of Clint Eastwood’s "Unforgiven" aura about him here, with the costs of his violent life visible in the weary lines of his face. I’m not sure anyone has plans to turn this into a franchise, but I certainly want to see more from this Chan-aissance.
  9. The Love Witch
    The Love Witch is so thin that if it turned sideways it would be invisible. It’s like a Bewitched episode stretched out to two hours. But boy, is it gorgeous to look at.
  10. Imperium
    Subtlety is not Imperium’s strength. But as a solid thriller, it’s far more successful, and Radcliffe is brilliant as the quick-on-his-feet agent.
  11. Tomb Raider
    Uthaug also manages to work in a few genuinely cool visual tricks, though the dialogue, from a serviceable script by Geneva Robertson-Dworet and Alastair Siddons is strictly standard; a mix of clunky action-movie exposition and winking Indiana Jones-style humor.
  12. Command and Control
    The pace of the drama is riveting, as it jumps back through the decades to place the accident in the context of the nuclear arms race.
  13. Mary Poppins Returns
    Spoonfuls of sugar always help the movie magic go down; if only this Mary had gotten a necessary twist of lemon, too.
  14. Office Christmas Party
    Aniston has a great time as the vampy, Krav Maga-ing Bitch Who Stole Christmas, and Miller’s willful idiocy is weirdly endearing.
  15. T2 Trainspotting
    The good news is that the film’s four lead actors all slip seamlessly back into their onscreen alter egos as if they’ve been keeping tabs on them all these years.
    • 72 Metascore
    • 75 Critic Score
    The Eagle Huntress
    The movie’s restrained second half stuns, ranking as one of the most magical stretches of nonfiction filmmaking in recent years.
    • 65 Metascore
    • 75 Critic Score
    Miss Stevens
    Though its heart beats with the same blood as something like "Lost in Translation," in which a daunting age gap inspires lasting platonic chemistry between two drifting souls, Miss Stevens feels fresh in its take on human vulnerability.
  18. A Dog's Purpose
    Purpose itself plays like a family film from another era, its gentle sensibilities a million miles removed from the winky pop culture references and meta layers of most modern all-ages entertainment. The effect is sweet, benignly retro, and just a little bit boring; a comforting Milk Bone for the soul.
  19. Three Colors: White
    There’s something earthy and elemental in this tale that was missing in Blue, something quirky and (measured by Kieslowskian standards) energetic.
  20. Miss Sloane
    Chastain fully commits to her boss-bitch persona, even if we only obliquely learn why she might have chosen such a lonely, mercenary life.
  21. Chuck
    Schreiber buoys the film with his characteristic blend of nuance and smirking humor, exuding likability though never lionizing the self-described “selfish prick” that he’s portraying.
    • 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.
  23. Norman: The Moderate Rise and Tragic Fall of a New York Fixer
    Cedar has created a classic cautionary tale in Norman, and Gere flawlessly turns his tragic hero into someone who’s sympathetic and human.
  24. The Monster
    Like "The Strangers," the result is a simple but skillfully told shocker.
  25. Blair Witch
    Blair Witch is the Hollywoodication of a film that defied the industry, and it works because of the profound respect for the original that hides beneath camera work that’s too good and a cast that’s too attractive.
  26. Wakefield
    Cranston is utterly hypnotic as a certain kind of American male on the verge of a nervous breakdown.
  27. The Woman Who Left
    The Woman Who Left may not be a movie for everyone, but if you allow yourself to settle into its leisurely tempo and marinate in its heroine’s journey, it can be a richly rewarding experience.
  28. Get Out
    Peele is undeniably a born filmmaker with big ambitions and an even bigger set of balls. He’s made a horror movie whose biggest jolts have nothing to do with blood or bodies, but rather with big ideas.
  29. 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.
    • 40 Metascore
    • 75 Critic Score
    The Comedian
    The Comedian explores the dynamics of such unorthodox attraction with its heart in the right place, but for all of its performative charm, it still suffers the untimely misfortune of following an old, white man grousing about the state of affairs as the world diversifies around him.
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