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. Babe
    A witty, stylish, beautifully made charmer of a family picture.
  2. Kill Bill: Vol. 2
    There's no denying that when it comes to communicating a certain delirious romanticism of character shaped by thousands of hours spent sitting in the dark, the artist who made this showpiece is a master.
  3. Vera Drake
    Stunning and compassionate period drama.
  4. Private Life
    It’s about perseverance, compassion, and empathy.
  5. Moonage Daydream
    Pruning would hamper the unencumbered risk-taking on display, which extends to some atmospheric animation (as it did with Morgen's Kurt Cobain: Montage of Heck), and instantly vaults the effort to the top of the Bowie docs. The music itself, gorgeously remixed by Bowie's longtime producer and friend Tony Visconti, has never sounded better or stranger, with isolations of instrumental passages that stick in mind.
  6. BlacKkKlansman
    It’s easily the director’s best movie since 2002’s "25th Hour."
  7. Lake of Fire
    It's impossible to watch Tony Kaye's theatrically supercharged, equal-opportunity button-pusher without experiencing a welter of emotions -- which is just what the filmmaker planned.
  8. Under the Skin
    As a film, Under the Skin is hauntingly freaky and ultimately frustrating. But as a movie star's gamble to be seen as more than just a moneymaking member of the Marvel universe, it's a home run.
  9. Red Army
    Thanks to Gabe Polsky's enthralling new documentary, we finally get to see these athletes for who they really were—it humanizes a group of men who were cast by history in the role of villains.
  10. The Post
    If you look at The Post next to something like All the President’s Men, you see the difference between having a story passively explained to you and actively helping to untangle it. That’s a small quibble with an urgent and impeccably acted film. But it’s also the difference between a very good movie and a great one.
  11. The Flat
    I will salute the deftness and intelligence with which Goldfinger observes the reactions of the living to the revelations of the dead.
  12. The Magdalene Sisters
    The rare movie that turns cruelty into art.
    • 83 Metascore
    • 100 Critic Score
    Superman II
    It boasts a more consistent tone, better special effects (such as villains throwing buses around like paper planes), and even an affecting love story.
  14. Tyson
    The result is flashy, but the meaning is a bit of a bob and weave.
  15. Eastern Promises
    It's an academic meditation in underworld-thriller drag -- a movie that looks about as close to a straight-ahead, down-and-dirty genre entertainment as anything the director has made since his exploding-head horror days.
  16. Footnote
    Footnote is itself a perfect little piece of Talmud, full of text, commentary, and colorful argument.
  17. Free Solo
    In the end, the answer may be only slightly deeper than “because it’s there”, but for 100 nerve-racking minutes, Free Solo brings us one man’s suicidal quest with sympathy, grace, and a ton of adrenalin.
  18. Trouble the Water
    Essential, unique viewing.
  19. Saint Maud
    The film loses steam when the plot drifts the women apart, but Clark's fearsome performance anchors the surreal final act. Her body is a stage for Saint Maud's demonic dance.
  20. Mustang
    It’s not hard to see why Mustang has been dubbed the “Turkish Virgin Suicides.” Like Sofia Coppola’s dreamy, unsettling 1999 debut, it’s another first film by a young female director that focuses in feverish close-up on the adolescent awakening of five restless, radiant sisters — and the ruin that follows when their family tries to contain it.
  21. Palm Springs
    At its core, the movie is too in love with love — or at least its messy, time-jumping ideal of it — for that kind of true discomfort comedy. That makes it less brave, maybe, but in this moment we're living in, who could begrudge a happy ending?
  22. James White
    In the best scene, which comes late in the film, James holds his dying mother and shares a vision of their future that they both know she’ll never get to see.
  23. It Follows
    A dizzyingly tense and creepy workout.
  24. Driveways
    A gentle, almost willfully recessive story about love and loss and all the ways that people find to share the burden of them both, one unhurried day at a time.
  25. Don't Think Twice
    Don’t Think Twice isn’t all envy and self-doubt; Birbiglia has also crafted a love letter to improv, capturing the tempestuous and unforgiving art form in a way that only an insider could.
  26. The Happiest Day in the Life of Olli Mäki
    It’s the quiet, simple moments between Olli and Raija that stick with you, whether he’s giving her a ride on the handlebars of his bicycle on their way to a country wedding or skipping stones across the smooth surface of a lake.
  27. Sweeney Todd: The Demon Barber of Fleet Street
    The movie is so finely minced a mixture of Sondheim's original melodrama and Burton's signature spicing that it's difficult to think of any other filmmaker so naturally suited for the job.
  28. 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.
    • 83 Metascore
    • 91 Critic Score
    Intervista
    Sublime moments encounter clunkiness and bad overdubbing until it’s hard to know what’s on purpose, but you certainly envy the Fellini family/crew their experiences in service of a man who so appreciated his life’s pursuit (or what he called ”this alibi”).
  30. Locke
    Yes, Locke is a bit of a storytelling stunt: For the entirety of the movie, Ivan is the only character on screen. But even with nothing to cut away to and no flashbacks to offer context, the film manages to stay as tight as a vise.
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