Entertainment Weekly's Scores

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For 7,797 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 2.2 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 7797
  2. Mixed: 2,079 out of 7797
  3. Negative: 760 out of 7797
7797 movie reviews
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  1. Freaky
    There's a better, weirder story in here somewhere — about teenage desire and social Darwinism, gender and perception — but the movie seems happy enough to settle for familiar, goofy jokes and jump scares; a freak flag half-flown.
  2. Mank
    The story then becomes less a forensic accounting of a masterpiece than a bittersweet ode to a certain slice of old Hollywood: part love letter, part cautionary tale, and still somehow a mystery.
  3. 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.
  4. Holidate
    As it is, though, the leaden dialogue and awkward pacing ensure that the shallow, unfunny Holidate never takes off.
  5. The Craft: Legacy
    By the end of Legacy, each of the witches has become less interesting and less distinct. You’ll find yourself asking, where are the weirdos, Lister-Jones? I'm sorry to tell you: They got left in the ‘90s.
  6. Borat Subsequent Moviefilm
    If the movie's entire axis spins on the kind of extreme discomfort comedy you almost need a pillow to chew on and a pile of Xanax to get through, that's also the particular genius of Baron Cohen, an artist who instinctively knows how to hold up a mirror — and that a cracked one can show us, maybe better than anything, exactly what we need to see.
  7. The Witches
    This Witches, alas, has the misfortune of doubling down on all the late writer's eccentricities, while somehow finding only a fraction of his magic.
  8. I'm Your Woman
    If wallpaper and polyester were any metric to judge a movie by, I'm Your Woman could have been a masterpiece.
  9. 2 Hearts
    There’s a great film to be made about organ donation — the miraculous, often mysterious link between donor and recipient and how that decision touches lives. But 2 Hearts doesn’t come close to finding the pulse required to be that movie.
  10. Time
    It tells a story as urgent and beautifully human as almost anything on screen this year.
  11. Rebecca
    With or without that hallowed history, it's hard not to feel the lack of something in director Ben Wheatley's lush, ponderous update — the most obvious thing, perhaps, being Laurence Olivier and Joan Fontaine.
  12. French Exit
    There's more to admire than to love in Azazel Jacobs' arch drawing-room comedy, with its surreal styling and arch Wes Anderson-y tics — and something essential lost, maybe, in screenwriter Patrick deWitt's own adaptation of his acclaimed 2018 novel of the same name.
  13. The Forty-Year-Old Version
    A ramshackle, winningly raw coming-of-middle-age shot in vivid black and white but told in emotional Technicolor.
  14. The Glorias
    As a reverent highlight reel and a history lesson, The Glorias gets the job done; as a movie, though, it rarely sings.
  15. Totally Under Control
    The movie’s title, by the way, comes from the president’s own evaluation of his handling of the virus, a phrase he proudly repeated more than once.
  16. I Carry You with Me
    In Ewing’s hands and as anchored by two superb performances, Iván and Gerardo’s romance gets scaled up to an epic, a searing saga of the undocumented experience in which love is the binding force.
  17. Dick Johnson Is Dead
    Like a sturdier Mr. Rogers who just happens to prefer red anoraks to cardigans, Dick comes off as both a kind of holy sage and an extremely good sport — a man whose gentle, pure-hearted exuberance swells to fill nearly every frame.
  18. 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.
  19. 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.
  20. 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.
  21. Kajillionaire
    Jenkins and a nearly unrecognizable Winger make the most of their small monsters, peeling back layers of callousness and calculation to hint at the messier motivations underneath.
  22. Enola Holmes
    While the mystery might be elementary (my dear, notably absent, Watson), the storytelling is winkingly subversive, proclaiming that a new and welcome game is afoot.
  23. The Nest
    Durkin captures it all with a sort of menacing restraint, building a deeply disquieting mood from long, almost voyeuristic shots and loaded gazes.
  24. The Secrets We Keep
    For the most part, though, these secrets aren't worth passing along.
  25. The Way I See It
    What it does have in happy excess is Souza’s affable presence, and his remarkable trove of images.
  26. Blackbird
    The last 15 minutes are frankly devastating — catharsis, thy name is ugly-cry! — but it all feels a little manipulative and thinly told in the end; Nancy Meyers reset in the key of tragedy.
  27. House of Cardin
    It ultimately proves too unwieldy a subject for Ebersole and Hughes to essentialize in under 100 minutes.
  28. Nomadland
    It's hard, too, to picture any actress other than McDormand (who also has a producer credit) in the part. She doesn't just become Fern, she creates her: melding Zhao's screenplay to her own fierce character in a way that feels almost uncannily real. Together, they've managed to make that rare thing: a film that feels both necessary and sublime.
  29. Ammonite
    There's an austerity to the film — long shots of stone and candlelight, clipped dialogue — that can feel rigorous, almost grim. But Lee (God's Own Country) is only building a richer kind of mood, and priming the canvas for his actresses, who reward that faith with remarkable performances.
  30. The Broken Hearts Gallery
    If the movie had just a little bit of truth, it could speak to people without "relatable" pandering about how adulting is hard and men are jerks! It's easy to parade around an ostentatiously broken heart, but that only means anything if it comes with baring a little bit of soul.
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