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. My Cousin Rachel
    A gothic moodpiece masquerading as a thriller, My Cousin Rachel is a misdirected swoon of a movie—long on black-veiled romance and ravishing atmosphere and a little short, alas, on dividends.
  2. Henry: Portrait of a Serial Killer
    Henry: Portrait of a Serial Killer is undeniably disturbing, especially that video scene and when it shows us (however discreetly) a body being hacked up in a bathtub. Yet the critics who’ve hailed it as a landmark are going overboard. Henry is just a superior B-movie with an artsy-clinical title.
  3. Carlito's Way
    Carlito’s Way is perfectly okay entertainment, yet this 2-hour-and-21-minute movie never convinced me it wouldn’t have been every bit as good (if not better) as a lean and mean Miami Vice episode.
  4. Beauty and the Beast
    Splendidly crafted as it is, the new Disney is a luscious impasto of visual invention that never quite finds its heart.
  5. Best and Most Beautiful Things
    The film’s overall effect lets the person — not the condition — be the real story, one that’s worth sharing.
  6. Spider-Man: Far from Home
    Far From Home succeeds with an unusual, troubling virtue: The best parts are the most fake.
  7. Despicable Me 3
    What shines through is the visual wit and innate sweetness of the storytelling, and Carell’s cackling, cueball-skulled misanthrope — a (mostly) reformed scoundrel who can still have his cake, and arsenic too.
  8. Girls Trip
    The jokes that are there are shocking and hysterical, and unlike some similar comedies about grownup friends, the four core characters are actually likeable.
  9. Victoria and Abdul
    Uneven but endearing.
  10. Vivo
    Have tissues ready, and thank Vivo for teaching the little ones a valuable lesson: Do not go into a swamp alone, or you will meet a tree-size python who sounds just like Michael Rooker.
  11. The Little Hours
    Writer-director Jeff Baena adapts parts of Boccaccio’s Decameron into an absurd and hysterical tale of nuns gone wild.
  12. Burning Sands
    There isn’t much room for nuance in his script, and the movie’s darkness (literally: too many poorly lit nighttime scenes are more heard than seen) undermines its message. But there’s something powerful even in its predictability.
  13. Ingrid Goes West
    A clever, corrosive little trick of a movie, a neon candy heart dipped in asbestos.
  14. Beatriz at Dinner
    Years from now, when the orbital politics of the film have dissolved, what will resonate about Beatriz at Dinner will be the sight of Hayek — leaps and bounds more enchanting a screen presence than the performers surrounding her — as a poignant object of neglect.
  15. Novitiate
    First-time director Maggie Betts has said she based her story in part on extended research into the aftershocks of Vatican II’s new liberties — in its wake, devoted members left the Church in droves — and on personal biographies of the women who experienced it firsthand.
  16. Patti Cake$
    It’s festooned with so many triumph-of-the-underdog clichés (including a climax you can see driving down the Garden State Parkway from a mile away), it’s like déja-vu with a breakbeat. The most remarkable thing about the film is how little you’ll actually mind by the end.
  17. To the Bone
    For young people suffering, the movie offers both hope and clarity; for more experienced viewers, it may come off a little too much like "Girl, Interrupted" through a Lifetime lens.
  18. Brigsby Bear
    The result is a slight, handcrafted indie that’s sweet, skewed, and feels a bit like a skit stretched out to feature length.
  19. Marshall
    The film shines, however, as a taut courtroom drama.
  20. Phantom Thread
    Like all of Anderson’s films (the best of which remain Boogie Nights and Magnolia), Phantom Thread is meticulously crafted, visually sumptuous, impeccably acted, and very, very directorly. But until the final act, this straight-jacketed character study is also pretty tame stuff — emotionally remote, a bit too studied, and far easier to admire than surrender to and swoon over.
  21. It Comes at Night
    With his follow-up, It Comes at Night, Shults has conjured another master class in anxiety, claustrophobia, and dread. He’s a natural-born filmmaker.
  22. Okja
    Okja in it. It’s the antithesis of cookie-cutter, made-by-committee filmmaking. Prepare to be amazed, grossed out, provoked, punchdrunk, and tickled.
  23. The Land of Steady Habits
    As the tone wobbles between absurdity and tragedy, it also starts to shift toward something deeper and more bittersweet than mere midlife ennui. A lot of that is down to Mendelsohn, an actor who seems born to embody Holofocener’s kind of hero: weary and wounded but still putting it out there, a beautiful mess in progress.
    • 55 Metascore
    • 75 Critic Score
    The Current War: Director's Cut
    Cumberbatch’s talent for giving the impression that his brain’s moving a little faster than everyone else’s suits his new subject perfectly — if only the movie moved with the same thrilling momentum.
  25. The Nightingale
    At nearly 140 minutes, the narrative takes its time wending toward a final, inevitable confrontation, and the incidents that punctuate it can sometimes feel like singularly ugly stations of the cross to be marked off; a series of random man- and nature-made cruelties meted out without pity.
  26. Three Billboards Outside Ebbing, Missouri
    A tar-black comedy so caustic it nearly burns a hole in the screen, Three Billboards Outside Ebbing, Missouri banks a lot on the gale force of Frances McDormand, and nearly pulls it off.
  27. Home Again
    Witherspoon can easily carry an entire movie in her dimples, but it’s hard not to measure Alice against a role as richly written as her recent turn on "Big Little Lies." Here, she’s mostly just a winsome proxy for midlife wish fulfillment — a bubbly brunch mimosa you drink up before the fizz is gone.
  28. The Meyerowitz Stories (New and Selected)
    It’s smart, relatable, laughter-through-psychic pain entertainment that happens to be elevated by a handful of wonderful performances even if it, at times, feels like a lesser version of "The Royal Tenenbaums."
  29. 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.
  30. 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.
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