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. Zama
    The film makes a compelling portrait of how job assignments can eventually become jail sentences, and how years can drift into each other with little care for unfulfilled dreams. As it goes, Zama ponders the unanswerable question of what kind of life, exactly, is worth living.
    • 63 Metascore
    • 75 Critic Score
    What's Up, Tiger Lily?
    References to vibrators and cattle prods mark the emergence of a hipper style of comedy, and, for the kids, there are gratuitous numbers by the Lovin’ Spoonful.
  3. Boy Erased
    Boy Erased is the kind of topical, well-intentioned movie that makes you wish it was slightly better than it is.
  4. Long Shot
    Not that there’s a ton of competition, but Long Shot may be the most deliriously raunchy comedy with a pivotal semen gag since "There’s Something About Mary."
  5. Jim & Andy: The Great Beyond — Featuring a Very Special, Contractually Obligated Mention of Tony Clifton
    Jim & Andy is fascinating, but it lands on a weird message: Thank goodness Andy Kaufman existed so Jim Carrey could play him in a movie.
  6. Night on Earth
    Jim Jarmusch’s Night on Earth is an agreeably flaky comedy built around a surefire hook. Each of the film’s five segments consists of a single extended taxicab ride through a different city; the idea is that each excursion is taking place at exactly the same time. The movie is like a hipster’s ramshackle version of traveling around the world and never leaving the Hilton.
  7. Smallfoot
    Smallfoot has its own silly, beastie charm.
  8. Light Sleeper
    Schrader seems to have found his way. In Light Sleeper, he attains a new, fluid emotionalism. The movie is a small but absorbing mood piece, a canny insider’s view of the life of a Manhattan drug dealer.
  9. Life of the Party
    A charming and generally painless way to spend two hours. It’s not nearly as sharp as some of the best stuff she’s done, but it’s pointedly kinder too, wrapping even its nastiest characters.
  10. Humor Me
    Clement channels his wry hangdog humor into a slightly more grounded performance than he often gives. His charm and absurdist tendencies help elevate Nate from a potentially self-centered man-child to a lost soul who is genuinely compelling.
  11. Alice
    Watchable and sometimes funny, but ever so thin.
  12. Come Sunday
    Ejiofor’s performance make the movie; the rest, you may just have to take on faith.
  13. Blumhouse's Truth or Dare
    Hale and Posey are likable leads and director Jeff Wadlow (Kick-Ass 2) injects proceedings with a propulsiveness which allows you to mostly ignore the odd plot strand which doesn’t really pay off or the general air of preposterousness.
  14. Blindspotting
    Over 95 minutes, Blindspotting builds tension like a simmering cauldron on the verge of boiling over. Its themes of racial prejudice, class conflict, friendship and loyalty find a voice that’s both disarmingly funny and heartbreakingly tragic.
  15. Crazy Rich Asians
    If the storyline is strictly something old and borrowed, though, a peek at the crazy-rich rainbow of Asian experience — even one as razzle-dazzlingly too-much as this one — feels not just new, but way overdue.
  16. Under the Silver Lake
    No matter how shaggy and self-indulgent it is, or how anticlimactic its big so-what of an ending ends up being, I was never bored. More than that, I kind of dug its sheer swing-for-the-fences insanity.
  17. Unicorn Store
    The result is a candy-coated, willfully quirky wisp of a film; like a Michel Gondry fantasy dipped in glitter and rainbow sprinkles.
  18. Fresh
    After a rich, anecdotal first half, Fresh, inspired by the lessons of his derelict-chess-whiz father (Samuel L. Jackson), ends up setting his own human chess game in motion. You may not believe a minute of it, though you won’t forget Nelson’s face.
  19. Skate Kitchen
    Shot by cinematographer Shabier Kirchner in hazy, endless-summer half-light, Kitchen finds a kind of urban poetry in the swooping parabolas of the skate park and the rumbling scrape of wheels on pavement.
  20. The Happy Prince
    Everett’s utterly fantastic performance as Wilde slightly exceeds his grasp as a first-time filmmaker.
  21. The Kindergarten Teacher
    Gyllenhaal, bright-eyed and brittle, brings her signature intensity to the role, though Lisa’s true inner world remains murky; it’s never quite clear if she’s just deeply unhappy or certifiably ill. Instead, the movie remains an intriguing but ambiguous portrait of a flawed, fascinating woman who knows herself either too well or not at all
  22. Monsters and Men
    Reinaldo Marcus Green’s quiet drama still carries its own kind of big stick, even if the story’s impact is ultimately muffled by his meditative, low-key style.
  23. Adrift
    It’s all done expertly and with an unexpectedly deft sleight-of-hand twist in the homestretch that proves once again that Kormakur is the kind of overachieving director that one pigeonholes at their own risk. He has a knack for making the familiar feel more surprising than it is.
  24. Bugsy
    What’s finally missing from Bugsy is the dirty, low-down kick of the crime genre — the quality that marked last year’s The Grifters, and that was there in The Godfather, too. Levinson would like to be bad, but his approach is reverent, ironic, tasteful. He’s made a gangster movie that, for all its lithe pleasures, enunciates too well.
  25. Pass Over
    The dialogue mixes Sunday school and the streets, and it’s funny, profane, and occasionally poignant when it’s not a bit too on the nose.
  26. The Nun
    When it leans into its camp, (I.e. when the French-Canadian “Frenchie” is on screen), The Nun comes closest to its ideal form of go-to midnight-movie, the fun younger cousin of the Conjuring movies with less build-up but more of the money shots you’ll come to a theater to see.
  27. The Endless
    Benson and Moorhead masterfully ratchet up the sense of unease, before the third act takes a turn for the truly terrifying.
  28. Book Club
    In an industry that defines “mature audiences” as anyone old enough to vote, a movie centered entirely on women over 65 — a sex comedy, no less — feels like some kind of small Hollywood miracle.
  29. Down in the Delta
    Roots matter, is Angelou’s Hallmark-style lesson. So for good measure, novice screenwriter Myron Goble also includes an unsubtle subplot about a candelabra that has been in the family since slaves were freed, thereby throwing one more ingredient into this thick dramatic gumbo.
  30. Fast Color
    Mbatha-Raw brings a fierce, quiet containment to the lead role, and Hart builds so much mood through her atmospheric cinematography and deliberately slow pacing that it nearly papers over the sketched-in quality of the script. Eventually, though, you start to wish her characters would speak in more than just vague koans and disaster-movie platitudes.
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