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. Extremely Wicked, Shockingly Evil and Vile
    What makes it more than a slick impersonation of sociopathy, though, is the layers he peels — Bundy’s desperation, his endless calculations and longing for connection. He also has some great interplay with John Malkovich, as the Tallahassee judge who engages in a sort of folksy, combative back-and-forth with him in court that nearly verges on buddy comedy.
  2. Tolkien
    Hoult brings a quiet, romantic intensity to the young Tolkien (pronounced ‘Tolkeen’, who knew?), Lily Collins does a lot with a little as his first love Edith, and the Hobbit horde will gobble up all of the easter-egg references peppered throughout the movie.
  3. Pokémon Detective Pikachu
    As the wisecracking voice of Pikachu, Ryan Reynolds deserves some sort of special citation for doing the best he can without Deadpool’s f-bombs (or a decent script) to lean on. But the main problem is that the film’s gumball-mayhem plot is so frenetic that it’s impossible to determine if it makes a lick of sense. Maybe that was the point.
  4. The Intruder
    The whole thing would be more fun, you start to feel, if Intruder just committed fully to the schlocky midnight-movie glory of it all; let Quaid’s lawn-mowing wingnut swing that ax not just for soft vulnerable body parts, but the stars.
  5. Knock Down the House
    Officially, Knock follows four progressive female candidates, though the one who inevitably dominates is Alexandria Ocasio-Cortez, the Bronx-bred waitress–turned–congressional unicorn. It’s a lot of fun to ride along on her wildly improbable rise, from slinging margaritas and scooping out ice buckets to taking down one of the most powerful Democrats in the House.
  6. Non-Fiction
    In the end, Non-Fiction is a warm, humane story that ends on a hopeful note reminiscent of "Hannah and Her Sisters." Life can be a messy business, but every so often it reveals moments of unexpected joy with perfect clarity.
  7. Long Shot
    Not that there’s a ton of competition, but Long Shot may be the most deliriously raunchy comedy with a pivotal semen gag since "There’s Something About Mary."
  8. The White Crow
    There’s something about the movie that makes it all feel as though it’s being presented under glass. Nureyev is more of an idea than an actual flesh and blood character. The only time The White Crow truly shoots off sparks is during its dance sequences. For those brief, beautiful moments, you can almost feel what it must have been like to witness a one-of-a-kind artist at the spellbinding height of his powers taking flight. But then the spell is broken, and the crow falls back to earth.
  9. Body at Brighton Rock
    It takes a promising premise loaded with white-knuckle, things-go-bump-in-the-night possibilities and proceeds to do surprisingly little with them over the course of its slim 87-minute running time.
  10. Avengers: Endgame
    The movie largely delivers, splashing its ambitious three-hour narrative across a sprawling canvas of characters, eras, and not-quite-insurmountable challenges.
  11. Fast Color
    Mbatha-Raw brings a fierce, quiet containment to the lead role, and Hart builds so much mood through her atmospheric cinematography and deliberately slow pacing that it nearly papers over the sketched-in quality of the script. Eventually, though, you start to wish her characters would speak in more than just vague koans and disaster-movie platitudes.
  12. Under the Silver Lake
    No matter how shaggy and self-indulgent it is, or how anticlimactic its big so-what of an ending ends up being, I was never bored. More than that, I kind of dug its sheer swing-for-the-fences insanity.
  13. Someone Great
    If shrewd one-liners and small moments ultimately override the episodic narrative, Someone‘s takeaway — that love is a messy-splendored thing, and “happily ever after” is just a story that hasn’t finished yet — feels refreshing modern and true.
  14. Hail Satan?
    Why end a rallying cry with a question mark? The devil is in the details, or at least in the punctuation of Hail Satan?, a movie that often seems to teeter on the line between doc- and mockumentary — a sincere examination of a social and political movement delivered with just a soupçon of Christopher Guest.
  15. Mary Magdalene
    No one can argue that Mary Magdalene isn’t a well-intentioned film. It’s just that while Mara convinces you that Mary deserves a more contemporary reappraisal, she also lays bare the fact that she deserves a better movie in which to accomplish it.
  16. Little
    The script’s second half drifts, going too soft on teachable moments, but Little still finds its loopy sweet spot: Tom Hanks’ "Big" flipped and recast as pure black-girl magic.
  17. The Man Who Killed Don Quixote
    With Adam Driver and Jonathan Pryce now in the roles once occupied by Johnny Depp and the late Jean Rochefort, Don Quixote turns out to be a pretty typical Gilliam film: whimsically daffy, frantically overstuffed, and art-directed to within in an inch of its life. It’s often transporting, but even more often exhausting.
  18. Dogman
    Marcello may remain a mystery, but the thing that makes Dogman worth checking out is the actor who portrays him. It’s a performance that never barks too loudly, but leaves you with an unmistakable bite.
  19. Her Smell
    What it does have at the center is an actress who commits completely to the mess, even if Perry never quite deigns to show us the underlying talent that might justify her terrible behavior — or at least the loyalty of the countless friends, fans, and enablers who suffer the brunt of it.
  20. Missing Link
    It all goes down easily if not exactly unforgettably; a wispy slice of hirsute whimsy.
  21. Hellboy
    The best thing I can say is: This is a mess that makes no sense, so it’s a cure for the common overly architected superhero film.
  22. The Wind
    The moments that work the best are the ones where Tammi lets the pace and pulse slow down, lets the ominous wind whistle and groan, and it isn’t trying to turn The Wind into Meek’s Cutoff as interpreted by the director of Insidious.
  23. Unicorn Store
    The result is a candy-coated, willfully quirky wisp of a film; like a Michel Gondry fantasy dipped in glitter and rainbow sprinkles.
  24. High Life
    High Life is, at turns, gorgeous, ridiculous, and confounding. Yet, the more you wrestle with it, the more it haunts you. As for Pattinson, who commits as fully as ever, he can rest easy knowing that he’s left his audience another riddle to chew on.
  25. Pet Sematary
    Fortunately, directing duo Kevin Kolsch and Dennis Widmyer get everything absolutely right in their bone-chillingly effective new remake.
  26. The Chaperone
    It’s little more than a handsome snooze that even the Masterpiece Theatre crowd may find a bit too snoozy.
  27. The Beach Bum
    Hard on the heels of January’s god-awful "Serenity," we’re now treated to The Beach Bum — a shambling, self-indulgent inside joke about a perpetually stoned holy fool from the Florida Keys named Moondog. I’ll give you one guess who plays him.
  28. Dumbo
    As a faithful update of a cherished classic, the new Dumbo will get the job done for restless kids on a rainy Saturday afternoon. Still, we’ve come to expect more magic, more bizarro pixie dust from Burton. Maybe that’s why the second marriage between the director and Disney feels more like an uneasy corporate alliance than a union of artistic passion.
  29. Dragged Across Concrete
    It’s a cliché to say that they don’t make movies like this anymore — nasty, nihilistic, nicotine-stained ‘70s death trips. But thank goodness that Zahler’s doing everything in his power to prove that cliché wrong.
  30. Shazam!
    Shazam! is basically two movies in one. One with Levi and his wiseass foster brother (a fresh Jack Dylan Grazer), the other with Strong and all his snarling, computer-generated gobbledygook. And they both have the other in a headlock, wrestling for the soul of the story. I loved one, yawned through the other.
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