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 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. Charade
    Hepburn doesn’t know whom to trust and neither does the audience, which is what makes this Hitchcock-lite thriller so much fun. The chemistry between the two leads — something surprisingly missing between Depp and Jolie — is electric.
    • 94 Metascore
    • 100 Critic Score
    The Apartment
    Wilder’s movie manages to be a scathing social satire and cautionary tale (the corporate lingo is prescient: ”preliminarywise,” ”manpowerwise”); a brilliant physical comedy (Lemmon’s tennis-racket-spaghetti-straining skills are superb); and a devastating romance between Baxter and Miss Kubelik (Shirley MacLaine). All of which makes Wilder’s masterpiece tough to take if you’re looking for a laugh riot.
  3. Stagecoach
    Action-packed and jaw-droppingly epic (it was the first time director John Ford ever shot in Monument Valley), Stagecoach is the perfect Western to show to people who don’t like Westerns.
  4. The Hustler
    Paul Newman won his Best Actor Oscar for its 1986 sequel, The Color of Money, but he executed an equally award-worthy turn in Robert Rossen’s jazzy, boozy pool-hall morality play.
  5. A Woman Under the Influence
    Rowlands gives a harrowing performance as a housewife coming unhinged.
    • 89 Metascore
    • 100 Critic Score
    Force of Evil
    A highly stylized tale.
    • 68 Metascore
    • 100 Critic Score
    French Connection II
    French Connection II is not exactly a fun flick (there’s a harrowing sequence where the bad guys shoot Hackman full of heroin, for example), but in its own twisted way it’s something of an art film — perhaps the most profoundly absurdist and pessimistic detective film ever made.
    • 78 Metascore
    • 100 Critic Score
    The Freshman
    The Freshman is the smartest and most slyly amusing American farce in years.
  9. The Incredible Journey
    Assuming you love animals — hell, even if you don’t — this is one of the best buddy movies ever made.
  10. Never Rarely Sometimes Always
    There’s no need to heavily editorialize here; Hittman is an assured enough filmmaker to portray this drama honestly and non-manipulatively, trusting her audience to interpret the complicated heartbreak of Autumn’s predicament without having to explain it to them.
    • 68 Metascore
    • 100 Critic Score
    A Boy and His Dog
    Though the film may not have one decent character, A Boy and His Dog (rereleased after a six-year moratorium) manages to be a likable celebration of friendship among the ruins.
  12. Paris Is Burning
    Paris Is Burning is the most passionately empathetic piece of documentary filmmaking I’ve seen since Streetwise, the brilliant portrait of homeless teens in Seattle, and The Decline of Western Civilization Part II, Penelope Spheeris’ sly and galvanizing heavy-metal collage.
    • 91 Metascore
    • 100 Critic Score
    Swing Time
    Top Hat is tops with two of the duo’s most sublime numbers. The George Stevens-directed Swing Time, featuring glorious Jerome Kern-Dorothy Fields songs, is just as good.
    • 96 Metascore
    • 100 Reviewed by
      Ty Burr
    The Shop Around the Corner
    What makes Shop timeless, ironically, is the specificity of its setting: a small department store in Budapest at the end of the global Depression.
    • 95 Metascore
    • 100 Critic Score
    The Bride of Frankenstein
    The gloriously baroque Bride of Frankenstein is in every way a richer, more imaginative experience than its straight-arrow predecessor.
    • 93 Metascore
    • 100 Critic Score
    McCabe & Mrs. Miller
    The film’s air of doom isn’t what some would call romantic, but as in The English Patient, it heightens the leads’ ardor.
  17. Woodstock
    Describing Woodstock as a concert movie is a little like calling Notre Dame a house of worship. In its scope and grandeur, its feel for the paradoxical nature of an event in which half a million middle-class bohemians created their own scruffy, surging community — a metropolis of mud — Woodstock remains the one true rock-concert spectacle, a counterculture Triumph of the Will. [1994]
  18. Taste of Cherry
    This outstanding work — so meditative — is clearly an affirmation of life (and never more provocatively than in the film’s unusual coda, in which moviemaking itself becomes part of the discussion). It’s also so grounded in the real emotional scope of ordinary people that the magnitude of the subject is answered in the most mysteriously matter-of-fact way.
    • 74 Metascore
    • 100 Critic Score
    The Naked City
    Nearly 50 years later, The Naked City‘s Oscar-winning cinematography and editing still have resonance.
  20. The Killing
    The kind of Swiss-watch precision and attention to detail that would eventually get Kubrick labeled Hollywood's most notorious perfectionist.
    • 77 Metascore
    • 100 Critic Score
    Animal Crackers
    One of the five essential Paramount comedies.
    • 93 Metascore
    • 100 Critic Score
    Top Hat
    Top Hat is tops with two of the duo’s most sublime numbers (The Piccolino, Cheek to Cheek), plus Fred’s rat-a-tat solo, a funnier-than-you-remember script (Erik Rhodes’ English-mangling designer exclaiming: ”Never again will I allow women to wear my dresses!”), and the hummable Irving Berlin score.
    • 80 Metascore
    • 100 Critic Score
    The Gay Divorcee
    The repartee is sharp, the plot is delightfully ridiculous, and the numbers — like ”Night and Day” and the epic Oscar winner ”The Continental” — are knockouts.
  24. Z
    A pulse-pounding procedural that pieces together the murder of a left-wing youth leader (Yves Montand). A baroque government cover-up is foiled by a tenacious inspector (Jean-?Louis Trintignant) whose rat-a-tat interrogations are like machine-gun fire. This is an amazing film.
    • 86 Metascore
    • 100 Critic Score
    Written on the Wind
    Boiling over with heated acting and schmaltzy scores, Douglas Sirk’s ’50s melodramas tap neatly into our collective trash psyche. Penetrate the surface, however, and they’re as serious and heartfelt as their director was.
    • 78 Metascore
    • 100 Critic Score
    The Witches
    The wit is highly sophisticated, but there’s also action, suspense, adventure — to say nothing of the spectacular visual effects produced by Jim Henson’s Creature Shop.
  27. Chimes at Midnight
    It’s a feast for the ears, eyes, and soul.
    • 97 Metascore
    • 100 Critic Score
    Battleship Potemkin
    It’s required viewing in virtually every Film 101 class. Look at any MTV video or any slick million- dollar minute of advertising, and you’ll see its origins in that assemblage of shots in Potemkin.
    • 69 Metascore
    • 100 Critic Score
    The Hidden
    The Hidden is hands down the best movie ever made about a homicidal alien slug that oozes from human host to human host.
    • 69 Metascore
    • 100 Critic Score
    Romeo and Juliet
    This decorous production brought Shakespeare’s rapture of first love to timeless life — and death — with achingly sensitive performances in a voluptuous period re-creation.
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