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. Deliverance
    With his Mephisto-phelean swagger and chewy, good ol’ boy drawl, Reynolds is a chest-beating revelation.
  2. Pink Flamingos
    In Pink Flamingos, Waters did something subversive and, in its gross way, quite spectacular: He created his own hell-bent, sick-joke Oz, with Divine as its wicked-witch queen.
    • 55 Metascore
    • 75 Critic Score
    Pocket Money
    It’s just Paul and Lee hanging out, playing off each other beautifully, every exchange of dialogue a gloveless, effortless toss ‘n’ catch, sparkling under Laszlo Kovacs’ sun-kissed cinematography.
  4. Daughters of Darkness
    Loaded with atmosphere, bared flesh, and a haunting turn by the Dietrich-esque Delphine Seyrig as an ageless countess who hungers for a pair of newlyweds (and their necks).
  5. The French Connection
    To watch it now is to appreciate more than ever Gene Hackman’s uncompromising talent, Owen Roizman’s great, barely-color cinematography, and a time when the spectacle of a foulmouthed, racist, brutal cop could still outrage as many moviegoers as it excited.
    • 74 Metascore
    • 83 Critic Score
    The Panic in Needle Park
    Compelling, unflattering performances by its stars rivet this grim romance between a cocky New York grifter (Al Pacino) and the mild-mannered Midwesterner (Kitty Winn) he corrupts.
  7. Walkabout
    Nicolas Roeg’s art-house adventure is lyrical and intoxicating.
    • 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.
  9. Gimme Shelter
    Remains the only rock & roll film that exerts the saturnine intensity of a thriller.
    • 58 Metascore
    • 58 Critic Score
    Scrooge
    [Finney] plays Scrooge less like a Dickens character and more like that crooked man who walked a crooked mile, of Mother Goose nursery rhyme fame. But it’s fun to see him cut a rug at Scrooge’s own funeral to the tune of Leslie Bricusse’s Thank You Very Much, the great show-stopping tune of this otherwise ho-ho-hum musical.
    • 70 Metascore
    • 83 Critic Score
    Catch-22
    The director of Who’s Afraid of Virginia Woolf? and The Graduate is more at home with minute personal tensions than with the epic hysteria this project required, so file the film under botched masterpieces.
    • 60 Metascore
    • 25 Critic Score
    Beyond the Valley of the Dolls
    As bad as Ebert’s screenplay is, Meyer’s direction is just as choppy. The film also looks ugly.
  13. 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]
    • 65 Metascore
    • 91 Critic Score
    The Boys in the Band
    This heavy-handed relic of a self-loathing time proves surprisingly relevant — not to mention funny, disturbing, and deeply moving.
    • 86 Metascore
    • 75 Critic Score
    Patton
    George C. Scott's Oscar-winning portrait of the megalomaniacal warrior general is still the glue holding together this blunt study of war as the ultimate human (and dehumanizing) game.
    • 61 Metascore
    • 67 Critic Score
    Topaz
    Though one of his later films, Topaz suffers from unusual pacing that drags for long stretches, but it also features exemplary Hitchcock suspense sequences, including a brisk escape set piece in Copenhagen and an impossibly tense scene in Harlem.
  17. 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.
  18. Downhill Racer
    One of the great unheralded films of the late ’60s.
    • 85 Metascore
    • 91 Critic Score
    Easy Rider
    Biker classic, with memorable counterculture monologues.
  20. Midnight Cowboy
    Even as a kid, I could see that Midnight Cowboy’s true subject isn’t decadence but loneliness...Midnight Cowboy’s peep-show vision of Manhattan lowlife may no longer be shocking, but what is shocking, in 1994, is to see a major studio film linger this lovingly on characters who have nothing to offer the audience but their own lost souls.
    • 90 Metascore
    • 91 Critic Score
    Red Beard
    Remember when ”ER” delivered keen social critiques wrapped in satisfying drama? If you miss that medicine, you need a dose of director Akira Kurosawa’s Red Beard, a three-hour soap opera about a 19th-century Japanese clinic.
    • 79 Metascore
    • 75 Critic Score
    Yellow Submarine
    Sure, some of the puns and in-jokes sound a little dated, but any movie that strings together lines from Shakespeare merely as a throwaway comic riff is, in my book, a film for the ages.
    • 69 Metascore
    • 58 Critic Score
    Romeo and Juliet
    The whole thing sinks on the shoulders of its pretty teen stars (Hussey and Whiting), who exhibit all the raw talent and sensuality of bit players in some bad Spanish soap.
    • 50 Metascore
    • 58 Critic Score
    Charly
    The premise is certainly alluring. But director Ralph Nelson and screenwriter Stirling Silliphant make a multitude of jaw-dropping choices.
  25. Rosemary's Baby
    Using New York’s famed apartment house the Dakota for all its cavernous shadowiness, and exploiting the 23-year-old Farrow’s tremulous space-child vulnerability to underscore her terror and solitude, Polanski worked with an elegant restraint that less talented filmmakers have been trying to mimic ever since.
  26. 2001: A Space Odyssey
    Still the grandest of all science-fiction movies.
    • Entertainment Weekly
    • 63 Metascore
    • 75 Critic Score
    Spider Baby or, the Maddest Story Ever Told
    A black comedy about a rural family that’s devolved into cannibalism, Spider Baby probably struck the few people who saw it as disturbing, but post-Texas Chainsaw Massacre it’s more Gidget than gore, interesting mostly for its cast (Lon Chaney is surprisingly affecting) and black-and-white, early-’60s ambiance.
  28. Navajo Joe
    A dubbed Italian botch starring a lithe Burt Reynolds as a Native American.
    • 67 Metascore
    • 91 Critic Score
    Reflections in a Golden Eye
    John Huston’s adaptation of Carson McCullers’ gothic novella of sexual repression, set in a Southern Army post, gave Taylor one of her most unusual roles. It’s a restrained, sensual performance with moments of high, if warped, comedy: an example of what a director with an original vision could elicit from her.
    • 86 Metascore
    • 91 Reviewed by
      Ty Burr
    Point Blank
    The lead character has been aptly renamed Walker, and, as played by Marvin in what may be the actor’s most emblematic performance, he strides through Los Angeles like a gangland golem: watchful, unstoppable, frighteningly silent.
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