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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    • 84 Metascore
    • 67 Critic Score
    Limelight
    Overburdened by Chaplin’s creaky script and fussy acting. Nevertheless, his musical duet with Buster Keaton is an absolute gas, proof that even when Chaplin was bad, he could still be good.
    • 85 Metascore
    • 91 Critic Score
    The Quiet Man
    Sentimental and sexist, John Ford’s gorgeous slice of the auld sod nevertheless moves like music.
  3. Don't Bother to Knock
    Don't Bother to Knock was the first film to truly grant her a juicy dramatic leading role, one that allowed Monroe to tap into her own childhood traumas and abuse.
  4. The Story of Robin Hood and His Merrie Men
    Mostly just a bland, sanitized rip-off of the 1938 Errol Flynn version, offering little in terms of new contributions to the tale, and not improving substantially on anything that was already there.
    • 79 Metascore
    • 83 Critic Score
    Pat and Mike
    Pat and Mike is notable for featuring such actual female sports stars as Babe Didrickson Zaharias and Betty Hicks, and for displaying Hepburn’s own athletic prowess.
    • 76 Metascore
    • 75 Critic Score
    The Tales of Hoffmann
    A logical distillation of Powell and Pressburger’s Red Shoes, Tales‘ splendid excess sometimes tilts toward gaudiness. What’s nectar to some is syrup to others, an overcooked reduction that can be too thick to swallow.
  7. The African Queen
    Bogart is hilariously crusty as a hard-drinking river rat who journeys downriver on a rickety steamer with a prim missionary (a flawless, lock-jawed Hepburn), trying to stay one step ahead of the Germans.
  8. Quo Vadis
    Golden era MGM takes on Christ! The lavish story of Roman-Christian conflict was universally loved, thanks to star turns by Robert Taylor, Deborah Kerr, and supporting players Peter Ustinov and Leo Genn.
    • 47 Metascore
    • 67 Critic Score
    When Worlds Collide
    When Worlds Collide is essentially 81 minutes of bad emoting by future TV actors.
  10. Sunset Boulevard
    There's a long tradition of filmmakers poking fun at the movie business. But no one bit the hand that fed him more viciously or with sharper fangs than Billy Wilder in Sunset Boulevard.
  11. The Gunfighter
    A ruthlessly heartbreaking tale of a famous gunslinger (Gregory Peck in a black mustache and a little black hat) grown weary of facing down an increasingly young bunch of challengers to his quick-draw supremacy.
    • 76 Metascore
    • 91 Critic Score
    Father of the Bride
    The scenes between Taylor and Spencer Tracy are sweet and utterly lacking in artifice, and although the movie asks little more than her presence, she provides it with simple, natural grace.
    • 85 Metascore
    • 100 Critic Score
    Cinderella
    The character gags work, the dreamlike ball sequence still induces swooning, and if you aren’t on the edge of your seat for the climactic fitting, it’s time to get back on the romanticism meds.
    • 69 Metascore
    • 83 Critic Score
    Young Man with a Horn
    (Doris Day) is quietly touching in Young Man With a Horn as a singer pining for Kirk Douglas’ tortured trumpeter.
    • 89 Metascore
    • 100 Critic Score
    White Heat
    Walsh’s White Heat, starring Cagney in great form as psychotic mamma’s boy Cody Jarrett, is shot by shot, frame by frame, the hard-boiled masterpiece of the bunch.
    • 89 Metascore
    • 100 Critic Score
    Force of Evil
    A highly stylized tale.
  17. Key Largo
    Key Largo is heaps of fun if you’re willing to go along for the ride, but perhaps slightly more silly than audiences might expect (or creators intend).
    • 64 Metascore
    • 50 Critic Score
    The Paradine Case
    This movie's attempt at a scandalous love triangle is so miscalibrated that it's extremely difficult to care about the stakes beyond the official legal proceedings.
    • 74 Metascore
    • 100 Critic Score
    The Naked City
    Nearly 50 years later, The Naked City‘s Oscar-winning cinematography and editing still have resonance.
    • 72 Metascore
    • 83 Critic Score
    The Bishop's Wife
    Grant’s turn is thoroughly convincing because he himself appears to be having a terrific time: He’s expansive, graceful, and seems always on the verge of chuckling with goodwill.
    • 75 Metascore
    • 75 Critic Score
    Nightmare Alley
    As much EC comic as noir, Nightmare Alley is strong on atmosphere (thanks to Lee Garmes’ shadowy cinematography) and performances (particularly Joan Blondell, as fellow mind reader Zeena), but doesn’t quite deliver on its lurid pulp premise.
    • 87 Metascore
    • 100 Critic Score
    Odd Man Out
    Mason gives a grand performance, his voice racked with desperation and pain yet sonorous.
    • 86 Metascore
    • 100 Critic Score
    I Know Where I'm Going!
    The writing-directing team of Michael Powell and Emeric Pressburger is best known for Technicolor wonders The Red Shoes and The Tales of Hoffman, but I Know Where I’m Going!, a far less famous black-and-white romantic fable, is as charming as anything in their oeuvre.
    • 86 Metascore
    • 100 Critic Score
    The Big Sleep
    Bogart’s portrayal of the detective as wisecracking moralist now seems to be what makes The Big Sleep the best of the eight Philip Marlowe pictures made to date.
    • 92 Metascore
    • 91 Critic Score
    Brief Encounter
    Director David Lean’s magnificent rendering of the short, passionate, and unconsummated affair between two middle-class, middle-aged Brits remains the most memorable treatment of extramarital romance in movie history.
    • 78 Metascore
    • 100 Critic Score
    Spellbound
    The Salvador Dalí-designed dream sequence is still a dazzler, and deciphering it points to the real killer. Analysis the way it oughta be!
    • 93 Metascore
    • 100 Critic Score
    The Life and Death of Colonel Blimp (1945)
    Controversy aside, ”Blimp” splendidly marries a sprawling narrative to stunningly imaginative filmmaking.
    • 74 Metascore
    • 83 Critic Score
    The Body Snatcher
    The movie has those unmistakable, shiver-inducing touches Lewton (Cat People) is famous for: a loyal little dog refusing to leave the site of its master’s fresh grave, a blind singer’s song suddenly and shockingly stopping offscreen, and the surprise of that final coach ride.
    • 83 Metascore
    • 100 Critic Score
    National Velvet
    No other child actor — nor adult one — has ever captured the pure, unconditional love between human and animal as Elizabeth Taylor does here. And few other films have caught the can’t-wait-another-second excitement of childhood fixation.
    • 90 Metascore
    • 75 Critic Score
    To Have and Have Not
    The ”you know how to whistle, don’t you?” scene is justifiably famous, and there’s plenty more where that came from.
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