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. Harriet
    If its aim to inspire and educate inevitably leaves the movie feeling a little classroom-bound, Harriet is still an impassioned, edifying portrait of a remarkable life, and a fitting showcase for the considerable talents of its star, Tony-winning British actress Cynthia Erivo.
  2. Just Mercy
    It’s solidly rewarding to watch the wheels of Mercy turn, though the direction ... can’t seem to help falling into certain schematics that tend to follow movies like these: the original sin; the uplift; the leering good-old-boy sheriffs; the big-moment court scenes.
  3. Motherless Brooklyn
    If it all sometimes feels trapped in the amber of his intentions, Brooklyn still casts a quiet sort of spell: a meticulously, lovingly made mood piece, full of empathy for the ones who can’t speak — at least not always the way they want to — for themselves.
  4. Hope Gap
    If Bening’s genteel British accent sometimes feels a little wobbly, her character is by far the most vivid force in the film.
  5. How to Build a Girl
    Still, there's a sort of willful energy field between Giedroyc and Feldstein that pushes the story along; the blithe, anything-can-happen thrill that comes from being young in a world where anything is possible — including the right to wreck yourself spectacularly, rebuild, and then start it all over again.
  6. Military Wives
    The timeliness of the film is particularly affecting when they all say goodbye to their loved ones, then cope with loneliness by compulsively online shopping and trying not to think about horrible possibilities over which they have no control. There are better movies than this one, sure. But this is its moment. Call it military punctuality.
  7. Zombieland: Double Tap
    For all the flying intestines and skulls that split open like past-due melons, Double Tap has another squishy organ at its center: a big, goofball heart.
  8. Romper Stomper
    As an expose of the new wave of racist youth-gang violence, Romper Stomper lacks depth, psychology, a sense of social background. Yet Wright’s flagrant attempt to humanize his skinheads-to turn them into bona fide movie characters-is, in its way, dramatic and vaguely honorable.
  9. The Way Back
    Affleck keeps the movie anchored with his rumpled, unshowy performance: a man killing himself to live, until he can start to believe that maybe there's a better way.
  10. Splendor in the Grass
    With his ripe lips, flirty eyes, and pre-Calvin Klein-era androgynous appeal, the 24-year-old Warren is utterly believable as a boy who drives Natalie Wood plumb insane with sexual frustration in William Inge’s overheated melodrama.
    • 70 Metascore
    • 75 Reviewed by
      Ty Burr
    The Boy in the Plastic Bubble
    A stricken teen trapped in a polyurethane isolation tent. That’s a potent metaphor for adolescence, which may be why this made-for-TV movie was a rite of passage for an awful lot of us.
  12. Last Night in Soho
    Soho is one hell of a half of a movie: a wildly styled neon reverie whose spooky bedazzlement only crashes to earth when it succumbs to bog-standard horror in the final act.
  13. The King
    What’s left is primarily a series of grand battleground set pieces — filmed crunchily, and well — and a series of consistently strong performances. (Has Mendelsohn every not been menacing and great in anything?).
    • 66 Metascore
    • 75 Critic Score
    King of New York
    Ferrara’s movies have the iridescence of Miami Vice (Ferrara directed some episodes), the rude energy of the B’s, and a sophisticated style that glides above their subjects. King of New York careens along loonily: A gaunt Christopher Walken, his eyes beginning to bulge like Peter Lorre’s, plays an eccentric Robin Hood gangster who coolly murders his rivals but offers millions to a hospital in the South Bronx.
  15. Dream Horse
    A quirky bootstraps narrative of improbable small-town ambition and extremely regional accents designed not to rush its modest, affable charms.
  16. The French Dispatch
    Dispatch often feels like the filmmaker in concentrate form, both his best and worst instincts on extravagant display.
    • 77 Metascore
    • 75 Reviewed by
      Ty Burr
    Tom Jones
    Screenwriter John Osborne and Richardson (both received Oscars as well) came up with a smart solution to the problem of adapting an 18th-century literary classic: Turn it into bawdy slapstick with generous helpings of then- daring sex and violence.
  18. Hands on a Hardbody: The Documentary
    Hands On a Hard Body itself is sometimes as bumpy as a panhandle dirt road, but out of the low-budget roughness and moments of Lettermanesque ain’t-folks-nutty humor, sharp portraits emerge of contestants as well as of the families and friends who massage, feed, and revivify the flagging bodies.
    • 79 Metascore
    • 75 Critic Score
    Lolita
    Stanley Kubrick’s adaptation of Vladimir Nabokov’s wicked, witty hymn to forbidden love loses some bite in the journey from novel to the screen, but it’s got its plummy pleasures, including a wonderfully subtle James Mason as Humbert Humbert, obsessed with the delicious Sue Lyon as the 14-year-old Lolita (bumped up from 12 in the book), and a marvelously blowzy Shelley Winters, hilarious as Lolita’s sexually voracious mom.
  20. Tell Me Who I Am
    But the truth, when it does come out, is devastating — to the point that it can feel invasive to watch such a profoundly private moment unfold on camera for our benefit.
  21. The Trial of the Chicago 7
    Chicago 7 frames the past not just as entertaining prologue but a living document; one we ignore at our own peril.
  22. James and the Giant Peach
    If only they’d trusted it more, they might have made a marvelous kids’ film instead of a merely charming one.
    • 57 Metascore
    • 75 Critic Score
    The People Under the Stairs
    People is a bizarre fairy tale that never loses its sly intelligence even when fulfilling its gross-out quota.
  24. The Call of the Wild
    Though this tale of redemption and survival doesn’t feel particularly relevant or essential in today’s media landscape, it still has the capacity to entertain and move, well over a century after the story first was published. And Ford’s presence and performance inject it with a wild heart it desperately needs.
    • 63 Metascore
    • 75 Critic Score
    Defending Your Life
    Brooks works the other side of the manic explosions of our most popular comics: His humor is reactive but no less funny. If you can reverse your expectations, this may find deserved afterlife on your TV.
  26. Spies in Disguise
    It’s a proud piece of family entertainment with a good heart, an eye for inventive action, and a delightfully wacky sense of humor.
  27. Free Guy
    In a genre where winky self-awareness has become standard-issue, Free might have come off as manic and hollow; instead, it has fun having a heart.
  28. 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.
  29. Downhill
    As an attempt to scale the craggy heights of a marriage in crisis, Downhill may be more bunny slope than black diamond — a force mineure, but still worth the trip.
    • 70 Metascore
    • 75 Critic Score
    John Lewis: Good Trouble
    John Lewis: Good Trouble is absolutely inspiring — but it stops a bit short of being illuminating.
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