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. Ambulance
    The violence is cartoonishly casual and the ending pure Hollywood corn. The absurdity, though, is the point: They're just two brothers on the run, and escape is what we came for.
  2. Lightyear
    Kids will love Lightyear. Adults will enjoy it. The only reason it falls short of what we've come to expect from Pixar is that they've set their own bar so damn high.
    • 75 Metascore
    • 75 Critic Score
    Nightmare Alley
    As much EC comic as noir, Nightmare Alley is strong on atmosphere (thanks to Lee Garmes’ shadowy cinematography) and performances (particularly Joan Blondell, as fellow mind reader Zeena), but doesn’t quite deliver on its lurid pulp premise.
  4. The Lost City
    Nothing in Lost City would really hang together without its main pair, whose chemistry movies like this inevitably live or die on.
    • 45 Metascore
    • 75 Critic Score
    Buck Rogers in the 25th Century
    The fun is in watching hacky Gil Gerard, a.k.a. Lucky Buck, smirk his way from cleavage-baring space pilots to midriff-revealing aliens to distressed damsels in every corner of the galaxy.
  6. When You Finish Saving the World
    Adapting the script from his own 2020 audio play, Eisenberg treats his cast with measured acidity, drawing out their snarky moods and narcissistic missteps without mocking them too cruelly; you may not particularly love these characters, but that's no match for how little they like themselves.
  7. Fresh
    Cave has a smart, stylish way of storytelling that somehow makes a film built on bone saws and grotesqueries feel almost breezy.
  8. Breaking
    A showcase mostly for Boyega and Beharie, whose tense, delicate interplay makes up much of the movie's emotional core.
  9. Watcher
    Writer-director Chloe Okuno has a remarkably sure hand for mood-building in her feature debut, using the winding alleys and tree-lined boulevards of Bucharest to woozy, enveloping affect. But she gives her star so few specific contours that Julia mostly comes off as a beautiful cipher and an increasingly maddening protagonist to root for, seemingly both paranoid and obtuse.
  10. Dear Mr. Brody
    The heir himself turned out to be a naïve and troubled young man, though Strickland leaves his particular fate a mystery until the final moments of the film. What's in between is unevenly executed but still compelling: a far-out cautionary tale of money, media, and gonzo idealism gone wrong.
  11. All the Old Knives
    Pine and Newton work valiantly to fill in the blanks, though the gray-flannel template of the dialogue often pushes back. When they do manage to transcend it, the movie becomes something still rare enough to appreciate: an urbane thriller calibrated for slow burns and analog attention spans.
  12. Wonka
    In addition to committing to its sense of fun, Wonka reminds us that life is made sweetest by the people we share it with. If that’s not particularly novel, it’s still as comforting and scrumptious a notion as a chocolate bar.
  13. Fly Away Home
    Ballard, working from a screenplay by Robert Rodat and Vince McKewin, lets the melancholy hang in the air with a few too many poetic shots of the lonely girl. But as Thomas teaches Amy how to spread her wings, any lacy sentimentality (as well as the jarring tree-hugger subplot about meanie land developers) falls away, revealing the soaring beauty of the flying sequences.
  14. Fire Island
    Tender teachable moments about racism or depression or midlife ennui ride alongside indie-pop needle drops and broad, breezy punchlines about tea-dance orgies and ketamine.
  15. The Woman King
    The fighting, when it comes — from competing tribes, and from white colonizers steadily advancing an international slave trade — is viscerally satisfying too, even as the screenplay, by Dana Stevens (Fatherhood) and actress Maria Bello, works mostly in the broad strokes of genre storytelling.
  16. Till
    Till-Mobley's choice to let the world see what Mississippi had done to her son — she demanded an open casket at his funeral — helped ignite a movement, and made history. Till bears stirring witness to that, even if it leaves the full measure of her life a mystery.
  17. She Said
    It's faithfully acted by an earnest, intelligent cast, and directed with fervent purpose by Maria Schrader. But the result, for all its galvanizing, well-oiled plot machinations, remains consistently earthbound, and often frustratingly schematic, a movie so bent toward education and edification that it feels a little bloodless in the end — human tragedy as PSA.
  18. Creed III
    Majors, already seemingly inescapable this year, brings a wounded menace that suggests the many sedimentary layers of fury and grief underneath; he's less some sneering Iron Curtain meathead á la Rocky villains of yore than a lost soul.
  19. Violent Night
    A team of screenwriters more creative than Pat Casey and Josh Miller (best known for two manic Sonic the Hedgehog movies) might have done more with the backstory, and director Tommy Wirkola's beatdowns never transcend the merely serviceable. But there's no denying the joy in a child's eyes when she sees Santa's weapon of choice, a sledgehammer hefted with brutal artistry, and squeals its name: "Skullcrusher!"
  20. Senior Year
    The extremely game presence of actors like Zoë Chao, Veep's Sam Richardson, and This Is Us's Justin Hartley (as the dimpled bohunk she left behind) help anchor the chaotic wisp of a plot that follows, as does Wilson's barrelling, blithely crass energy.
  21. Halftime
    Halftime is often hagiography, but a keen and sympathetic one too, designed to humanize a tabloid-headline life and remind us once again that where she comes from (the Block, the boogie-down Bronx) is as integral to her success as beauty or talent or sheer tenacity.
  22. Somewhere in Queens
    It's quiet and charming and has some beautiful, if also familiar things to say about fathers and sons, and the question of legacy. But it's not breaking any new or revelatory ground.
  23. Bardo, False Chronicle of a Handful of Truths
    As an all-in-one viewing experience, Bardo is undeniably uneven, often maddening, and seems to have approximately 17 endings. Still, the movie is a marvel in its own way, dotted with pure cinephile delights and small unexpected pockets of profundity.
  24. Three Thousand Years of Longing
    It's a gentler, sadder movie than the dizzying trailer suggests, and less driven by plot than a stickler for storytelling like Alithea might prefer: a loopy little jewel-box reverie, slipped between two Furies.
  25. God's Creatures
    As an acting showcase, Creatures is more than admirable; as a tourism ad for Ireland, untenable. As a movie experience, alas, it's both intriguing and teasingly incomplete.
  26. Weird: The Al Yankovic Story
    Eric Appel's directorial debut essentially plays like a movie-length Funny or Die sketch — which it is, technically (or at least produced under that production umbrella): a giddy cameo-stacked satire propelled by murder, mayhem, Mexican drug lords, and athletic sex with Madonna. This is whole-cloth fantasy, of course, and that's the point: less Walk the Line than Walk Hard, with accordions.
    • 69 Metascore
    • 75 Critic Score
    The Russians Are Coming the Russians Are Coming
    Still, the picture remains the only ”feel good” movie of the entire Cold War corpus.
  28. Smile
    Bacon is great fun as a girl on the verge of a nervous breakdown, chirping with increasing desperation that she's fine, and Finn is a pleasingly nervy stylist, letting the camera tilt and flip at seasick angles and ratcheting the tension as he goes. Smile is a pretty silly movie by any metric; still, it has teeth.
  29. Asteroid City
    Johansson and Schwartzman give two stellar performances within a galaxy of gripping ensemble work that treads the line between pastiche and pathos with ease.
  30. Thunderbolts*
    A lot of what works in the movie does so due to the talent of the performers. There aren't a lot of jokes or killer lines in this, but little bits of business that Pugh and Russell, in particular, make work. Harbour's loud, boorish Russian bear is funny at first, but alas, gets tiresome in a short amount of time.
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