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. The Lovebirds
    What feels freshest, maybe, is the mere fact of two leads of color taking on all the tropes of the genre and making it feel as modern as they do.
  2. Sylvie's Love
    Love’s most radical act may be the simple fact of its Blackness — that the faces at the center of the screen are ones that for so many decades we’d mostly see only in the margins of a movie like this, or not at all.
  3. Morbius
    Swedish-Chilean director Daniel Espinosa (Life) gives it all a dark sheen, and shoots the pair's inevitable confrontations less like traditional comic-book clashes than something from The Matrix.
  4. Sign 'o' the Times
    The cutting and camera work in Sign ‘O’ the Times are too intrusive, and the somewhat discordant songs worked better as a magnificent hodgepodge on the album. Still, this concert movie (which barely made it to theaters) is a feisty, engaging show.
  5. The Night House
    Though the bag of tricks that Bruckner (V/H/S, The Ritual) digs through — the jump scares and shadow figures, the eerily suspended rules of gravity and physics — are familiar, he uses them to build a kind of clanging, feverish atmosphere. And British actress Hall (The Gift, Godzilla vs. Kong), tasked with carrying nearly every scene, grounds her performance in more than meat-puppet panic; her unraveling springs from genuine, furious grief.
  6. Lost Girls
    It helps immensely that the film has an actress like Amy Ryan (Birdman, Beautiful Boy) to play Mari Gilbert, whose years-long battle to get anyone at all — the press, the police, the people of New York — to care about her daughter Shannan forms the emotional core of the story.
  7. Relic
    If the setup feels quotidian, the tension still climbs steadily, egged on by Edna's increasing confusion and cognitive decline and Kay and Sam's conflicting ideas of what should be done about it. But it's the final scene, it turns out, that James has saved her chips for: a haunting tableau both gruesome and beautiful and somehow, full of love.
  8. The Courier
    Ironbark might not be a great film in the end, but it is a satisfying good one — a story that’s at its best when it colors outside the black and white (or Communist red, as it were) lines of war and hones in on the real, fallible men and women who fight it, one quiet inglorious step at a time.
  9. The Green Knight
    In a way, the movie feels almost like Marvel antimatter, an auteur's willful response to whiz-bang emptiness and Infinity Stones. Knight is ultimately a tale of honor though, and a deeply moral one — inscrutable, but haunting too.
  10. Minions: The Rise of Gru
    In a movie that only nominally needs to make sense, those little mango-colored agents of chaos — with their thumb-shaped bodies, jaunty overalls, and inscrutable dialect ("Who are these tiny tater tots and where did they get so much denim?" Gru marvels in his own esoteric accent) — are often the best thing on screen, a loopy confluence of Buster Keaton and Evel Knievel.
  11. After Yang
    Like its muse, the movie feels a little like a black-box experiment, one that can be both frustratingly opaque and achingly lovely: a still-waters mystery whose ripples, even up to the last frame, only hint at what lies beneath.
  12. i'm thinking of ending things
    Buckley and Plemons are left to carry that water for much of I'm Thinking's 134-minute runtime, and they're both fantastically game, infusing the movie's heady concepts with a naturalism that borders on heroic.
  13. On the Rocks
    The story itself, with its gorgeous interiors and jazzy Chet Baker soundtrack, turns out to be a bit of a wisp, a dandelion puff tossed to the gods of romance and prime Manhattan real estate. But if the emotional stakes never really seem all that crucial (love wins, in the end), Murray brings his own cosmic weight.
  14. Extraction
    Extraction mostly delivers what its swaggering trailer promises: international scenery; insidious villains; a taciturn, tree-trunk Aussie. And the comfort of knowing that the kids — or at least the one he came for — are probably alright.
    • 58 Metascore
    • 75 Critic Score
    Twice in a Lifetime
    ”With her it’s sex?” a weepy Ellen Burstyn asks husband Gene Hackman in Twice in a Lifetime, a sensitive divorce drama that finds her wondering why Hackman’s steel-mill man is jilting her late in life for jezebel barmaid Ann-Margret. ”Of course it’s sex,” Hackman replies testily. ”It’s important.” Good scene, but it’s jarring, too, because it reminds you just how rarely this master actor has been asked to play a man in heat over the course of his long career.
    • 57 Metascore
    • 75 Critic Score
    The Best of Times
    It’s hardly a great Williams performance, nor would it make the short list of really good football movies, but there’s something very sweet and innocent about it—especially Williams’ hopeless dreamer.
    • 48 Metascore
    • 75 Critic Score
    Eaten Alive
    Blackly comic elements do little to blunt the unsettling aura created by the garish lighting and intense dentist-drill ”score.”
  18. The Half of It
    If The Half of It lacks the pizzazz and energy of similar Netflix fare, and doesn't have much to say beyond its initial setup, it at least takes a stab at doing something different.
  19. All Day and a Night
    A nervy, deeply felt drama that gets a little lost on its winding path to redemption but still finds a way home.
  20. The Paper
    Keaton is at his most urgent and winning here. His fast-break, neurotic style — owlish stare, motor mouth — is perfect for the role of a compulsive news junkie who lives for the rush of his job.
    • 62 Metascore
    • 75 Critic Score
    The Human Factor
    The Human Factor, a spy saga and Preminger’s final film, is an overlooked gem.
  22. For All Mankind
    For All Mankind certainly succeeds at evoking the ironically serene aesthetics of space travel. What it never quite captures is the accompanying human drama. In all likelihood, the film will be shown in classrooms for years to come, but it’s just possible kids will watch it and wonder what all the fuss was about.
  23. Amulet
    At times, Amulet can feel a little too in love with style over story; immoderately hung up on gooey close-ups of gutted fish or Magda engaged in a sort of jerky, mesmerizing dance whose offbeat rhythms rival Elaine on Seinfeld. But even as it builds toward a more conventional climax — only the first, it turns out, of several twist endings — the movie casts a grim sort of spell; a brooding, stifled dread that creeps in quietly from the margins, and lingers long after the last triumphant frame.
  24. The One and Only Ivan
    Watching Ivan discover his love of art is intoxicating, too, particularly when his realization that he can use it to communicate results in a truly breathtaking tableau. The film’s genuine bursts of emotion, combined with the wry warmth of the vocal performances and the deftly realistic rendering of the CGI animals, give the project a silverback gorilla-sized heaping of heart.
    • 66 Metascore
    • 75 Critic Score
    Michael Jackson's Journey from Motown to Off the Wall
    Lee’s documentary is, ultimately, enjoyably nostalgic, but says little more than what we already know.
  26. Shanghai Triad
    Also starring: the landscape, beautifully photographed by cinematographer Lu Yue. The look is rosily glamorous in sophisticated Shanghai, and mistily poetic on the quiet island to which the mobster and his party escape.
    • 72 Metascore
    • 75 Critic Score
    Flying Down to Rio
    In their first big-screen pairing, fourth-billed Ginger and fifth-billed Fred play second banana to a bandleader and his Latina love in Flying Down to Rio, a nutty entry that springs alive for ”The Carioca,” possibly the duo’s sexiest dance.
  28. I Care a Lot
    Pike . . . feels unleashed by the wickedness of the role, gleefully sinking those gleaming white teeth into her finest villainy since Gone Girl. As the mercenary Marla — cool-eyed and indomitable, a razor blade poured into a buttercream blazer — she's delicious, a shiny-haired nihilist who couldn't care less if she tried.
    • 78 Metascore
    • 75 Critic Score
    Lassie Come Home
    The slightly older set will be hard-pressed to watch Lassie Come Home without a great big lump in the throat.
  30. The Boys in the Band
    Boys no doubt has its benefits as both a history lesson and an outsize acting showcase for its talented cast; as a film experience in 2020, though, it often comes as a kind of relief to know that the seismic half-century-plus since its creation — as a play and a 1970 film, then a play and a movie again — have given us so many other sweeter, deeper stories to tell.
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