Entertainment Weekly's Scores

Select another publication »
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
view
per page
    • 60 Metascore
    • 75 Critic Score
    Meatballs
    More Murray-centric scenes were shot after a test screening showed that little without him worked.
  2. Fighting with My Family
    Most of Fighting’s narrative moves are as choreographed as any undercard match — and the outcome as clearly forecast — but the tears brought on by the movie’s last ten minutes of rhinestoned Rocky triumph taste salty, and real.
  3. Bad Times at the El Royale
    It’s British stage actress Erivo who feels like the real star. Her steely charisma and gorgeous powerhouse of a voice (Goddard takes every plausible opportunity to let her loose on a classic 1960s songbook; can you blame him?) is what gives the movie not just a different kind of heroine, but a heart.
  4. Beautiful Boy
    Beautiful Boy keeps you strung on that line for nearly all of its run time, and sometimes it feels less like a movie than an endurance test — one that’s lovingly, meticulously made but almost too much like real life: an impressionistic series of highs and lows, relapses and recoveries, without the necessary anchor of a cohesive arc.
  5. Second Act
    What’s fun is just watching Lopez and her supporting cast — including her real-life best friend Remini, Tony winner Annaleigh Ashford as her tightly wound coworker, and a loopy Charlyne Yi as her phobic new assistant — move through the scenes so easily.
  6. Single White Female
    A clever, by-the-numbers gothic thriller. Single White Female is entertaining claptrap.
    • 72 Metascore
    • 75 Reviewed by
      Ty Burr
    Matilda
    Clearly, a lot of grown-up types are going to despise Matilda: gym teachers, school psychologists, used-car salesmen, critics who like their family fare immobilized by homiletic virtue. But kids will understand.
  8. Cargo
    The Australian setting brings a fresh, and epic, quality to this now done-to-death genre, and the directors introduce a few nice new kinks to the zombie mythology, notably a desire on the part of the undead to literally — and hauntingly — bury their heads in the sand. But the real treat is Freeman.
  9. Hotel Artemis
    Writer-director Drew Pearce must have done something right to get a cast like this to sign on for what is essentially a loving, highly stylized homage to the kind of camp apocalyptia John Carpenter used to make; the only thing missing here is an Ernest Borgnine cameo and Kurt Russell scowling in an eye patch.
  10. The Escape
    Its title sounds like the premise for some kind of high-adrenaline adventure about maze-running or outgunning a nuclear apocalypse. But The Escape is both less thrilling and much scarier, in its own way — a quiet domestic-drama chamber piece with a vein of pure desperation thrumming beneath it.
  11. Woman Walks Ahead
    Woman could use some of the quieter character nuance of a movie like last year’s "Wind River," another fact-based drama that reflected the struggle of indigenous people with a sensitive, unvarnished kind of naturalism; White’s well-meant version is undoubtedly incomplete, and gilded with a certain amount of Hollywood silliness.
  12. Under the Tree
    By trading in all its intrigue and emotional subtleties for the gotcha moment it’s clearly been waiting for, Tree wins the battle but loses the war.
  13. All About Nina
    All About Nina works best as a showcase for Winstead, even if she’s performing material we’ve already heard before.
    • 79 Metascore
    • 75 Critic Score
    Yellow Submarine
    Sure, some of the puns and in-jokes sound a little dated, but any movie that strings together lines from Shakespeare merely as a throwaway comic riff is, in my book, a film for the ages.
  15. Bill & Ted Face the Music
    Mostly, the joy comes from watching Reeves and Winter on screen, two holy fools just doing their best to bring light and love and non-heinous riffs — and remind the bleary-eyed citizens of 2020, perhaps, of a simpler, sweeter world gone by.
  16. The Year of Spectacular Men
    A dizzy, fizzy comedy with occasional flashes of real wit.
  17. Set It Up
    The true strength of the film lies in Zoey Deutch’s magnetic performance. It’s impossible to watch this film and not come to the conclusion that the actress (Vampire Academy) is a soon-to-be major star, as soon as she hits on a major project that makes use of her effortless humor and charisma.
  18. The Sisters Brothers
    Sisters gets sadder and more eccentric as it goes along, and the ending actually tugs sweetly on a few heart strings, though it’s also hard not to wonder why exactly, with all the Westerns already in the cannon, this movie got made — other than to give its crew of excellent actors a chance to put on their boots and ride off, cock-eyed and whimsical, into some kind of sunset.
  19. Soylent Green
    Richard Fleischer’s dystopian thriller set in an overpopulated, famine-stricken 2022 New York is a wonderfully silly slice of future schlock, featuring some of Heston’s zestiest overacting.
  20. The New Age
    A dark, ambitious, unsettling piece of work.
  21. To All the Boys I've Loved Before
    A lightweight teen rom-com that isn’t likely to clear up anyone’s grasp of what the studio stands for, but it is breezy and charming enough to merit a watch contingent on reasonable expectations.
  22. Like Father
    The movie’s arc is too conventional by half, but the appeal of the two main actors keeps it (sorry) afloat, maybe more than it should.
  23. Restoration
    Blinking his puppy-moist eyes and grappling with an English accent, Downey struggles so manfully in the role that one cuts him a lot of slack; working earnestly on her Irish brogue and mussing up her cupcake demeanor in the service of verisimilitude as a wise madwoman, Meg Ryan’s performance is, refreshingly, less precious than she’s been in a long while.
  24. Bisbee '17
    There’s no denying that Bisbee ’17 has some moments of deep elegiac power or, for that matter, that Greene’s ambition is boundless. But by the end, I often felt like his blurring of the past and the present was an experiment that was easier to admire than be swept up by.
  25. Sierra Burgess Is a Loser
    Even if you’ve seen it all before, Sierra Burgess will still satisfy your end-of-summer sweet tooth.
  26. On the Basis of Sex
    A suitably inspiring biopic despite its narrative unevenness and occasional reliance on schmaltz, seeks to show audiences the origin story of a cultural icon.
  27. State of Grace
    The movie has been shot with a pleasingly overripe visual flair, and on its own terms it’s fairly entertaining. Yet it isn’t about anything so much as its own explosiveness.
  28. 3 Men and a Little Lady
    A far funnier movie than its predecessor.
    • 60 Metascore
    • 75 Reviewed by
      Ty Burr
    Wayne's World 2
    It also made me laugh harder than anything I’ve seen at the movies this year.
Page:

Top Trailers

See all »
See all trailers »