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. Blood In, Blood Out
    What the movie needed was the kind of dark explosion of star temperament that Sean Penn brought to 1983’s Bad Boys. Still, give Hackford this: He does a vivid job of taking you places you may not think you’d want to go.
  2. Tenet
    Yes, this stuff is cool. It is also massively complex, presented with a straight face via a script that nevertheless winks at The Protagonist’s — and our — utter confusion as Tenet's byzantine plot unfolds.
  3. Sneakers
    Sneakers is an agreeably lightweight caper thriller that has absolutely nothing to do with Reeboks or basketball.
  4. White Palace
    Spader and Sarandon make White Palace worth seeing, but too often they’re fighting the movie’s smugness.
  5. Dick Tracy
    Beatty and his team of collaborators have heightened the vibrantly tawdry urban night world of Chester Gould’s classic comic strip.
  6. Candyman
    Who can take a reboot, sprinkle it with something new, cover it with blood and bumblebees and a pointed social commentary or two? Candyman can, at least for a little while, even if the movie doesn't really find its more-than-body-horror groove in the end.
  7. 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.
  8. Bad Hair
    You sense Simien’s pushing into uncharted territory. Yet his distinctive gifts as a director are increasingly relegated to the margins, propelling a narrative that works better in theory than execution.
    • 73 Metascore
    • 67 Critic Score
    Miss Juneteenth
    Beharie remains a powerful performer, able to convey multitudes with subtlety, even if Miss Juneteenth never makes a move you didn’t see coming a mile down that country road.
  10. House of Cardin
    It ultimately proves too unwieldy a subject for Ebersole and Hughes to essentialize in under 100 minutes.
  11. The Glorias
    As a reverent highlight reel and a history lesson, The Glorias gets the job done; as a movie, though, it rarely sings.
  12. Tesla
    Amidst all his meta tricks — the winky callouts to Wikipedia, the deliberately kitsch sets and incongruous soundtrack — Tesla’s own story ultimately fades; a small, bright light lost in the bigger spectacle.
  13. The Old Guard
    That leaves a movie that, beneath its strong female presence and few contemporary bits of flair, has a sort of inevitable bog-standard action feel, just entertaining enough in its live-die-repeat machinations to pass the minimal engagement test.
  14. The High Note
    The movie has its moments, some of them genuinely delightful. Still, there's a world where The High Note could have struck a stronger, deeper chord, and resonated.
  15. Blue Story
    As a director, Onwubolu brings a tender, vivid touch the film’s relationships — particularly Timmy’s giddy plunge into first love with the fiercely independent Leah (Karla Simone-Spence) — though he stumbles when it comes to building deeper storylines around them; there's almost no narrative turn that doesn't seem telegraphed from the jump.
  16. Spaceship Earth
    It's a fascinating story, this clash of 1960s idealism with the cold realities of modern science, though not one that director Matt Wolf (Wild Combination: A Story of Arthur Russell) is fully able to bite off and chew in Spaceship Earth, his fitfully enthralling but frustratingly incomplete documentary.
  17. Eurovision Song Contest: The Story of Fire Saga
    If it all feels like less than the sum of all that wig glue and flop sweat and silver lamé — and far short of Ferrell's best — it's also still the kind of movie that frankly, the lowered expectations of These Times are made for: Not a new song or even a very good one, but somehow still enough to hum along.
  18. Jungle Fever
    What’s missing from Jungle Fever, I think, is a vision of the positive. By that, I don’t mean some shallow ”optimistic” message but, rather, an organic and casual sense of pleasure as one of the sustaining currents of everyday life — even in a country as mired in racism as this one.
  19. An Angel at My Table
    Told in Campion’s fancifully fractured style, An Angel at My Table is very accomplished, but it’s also an epic act of perversity: a 2-hour-and-38-minute movie about a wallflower.
  20. Nell
    By the end, the pieties of Nell fall into place all too neatly.
  21. 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.
    • 63 Metascore
    • 67 Reviewed by
      Ty Burr
    Honeymoon in Vegas
    Way oversold in movie theaters, this pleasantly small shaggy-dog comedy seems more at home on the small screen — even if you do forget why it is you’re smiling by the time the tape finishes rewinding.
  23. Pieces of a Woman
    Though an overwrought final hour dissipates the power of the first and its soft-focus end notes feel unearned, the film still leaves a bruising kind of mark.
  24. Wild Mountain Thyme
    It almost seems churlish to single out one aspect of the film for unreality, when the whole thing is essentially one Riverdancing leprechaun short of a fairy tale. And when so many dangerous drinking games can be invented to accompany the rise and fall of Christopher Walken’s mystery brogue.
  25. Wander Darkly
    The film’s greatest strength is the pairing of Miller and Luna, an immensely charismatic duo who give Adrienne and Matteo’s relationship (not to mention her metaphysical crisis) credibility even where Miele’s script does not.
  26. Scream
    While the new movie is laced with Easter eggs and homages to the late master, it doesn't build its sequences with the same meat-and-potatoes solidity as Craven did. Bettinelli-Olpin and Gillett don't have those chops yet.
  27. First Knight
    Zucker gives the Camelot legend a makeover and rediscovers its humanizing fire. He has made a true adult fairy tale, only with a heart of glass.
  28. Land
    What does come through are the good intentions of everyone involved. There's a great sincerity here, even in the schmaltzier bits, demonstrating a real belief in the humanity on display — however contrived the vehicle for it.
  29. The Program
    James Caan is underused as the crusty coach who needs a championship season, but he is supported by good turns from the highly angst-ridden quarterback (Craig Sheffer) and the straight-from-the-streets rookie running back (Omar Epps).
  30. Rush
    Directed by Lili Fini Zanuck, the Oscar-winning coproducer of Driving Miss Daisy (it’s her first time behind the camera), Rush has a raw surface authenticity. But that’s about all it has.
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