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. Tarzan
    One of the great virtues of Disney's most elegant animated ''classic'' in years is how blessedly sermon-free this zippy, dignified retelling of Edgar Rice Burroughs' ripping 1914 yarn is.
    • 80 Metascore
    • 83 Critic Score
    The War of the Roses
    DeVito doesn't hesitate to send the camera anywhere to goose the humor.
    • Entertainment Weekly
  3. The Other Side of the Wind
    The Other Side of the Wind (both the movie and the movie-within-a-movie) is a hypnotic, magical mess of a film. It’s a lot of story and not enough of one. Still, there are shots that are so haunting and beautifully composed that you want to get out of your seat and take up residence in them.
  4. West of Memphis
    The film casts a hypnotic spell all its own. It artfully sketches out the events for anyone who's coming in cold, but basically, its strategy is to take what we already know and go deeper.
  5. Frost/Nixon
    Surges with an energy and visual verve that improve the play and enhance the themes of dramatist Peter Morgan's script.
  6. Last Resort
    Moving and eerily beautiful.
  7. Wildlife
    Wildlife is confident and patient and mature. It may be a small film, but its power is massive. Especially its very last shot, which is so devastating it has the force of a sucker punch.
  8. Eat Drink Man Woman
    The personalities in this well-drawn family combine to produce subtle new flavors — and in the end, no one is spiced as you’d imagined they’d be.
  9. Senna
    With exemplary use of archival footage, director Asif Kapadia expertly contrasts episodes of adrenaline-rush speed with moments of reflective slow motion to capture the addictive thrill and danger of the sport, as well as the personal values of the humble, spiritual sportsman.
  10. The Piano Teacher
    The audience for this grimly disquieting film is, or ought to be, self-selecting.
  11. Monsters, Inc.
    Monsters, Inc. has got that swing, that zippity, multilevel awareness of kids'-eye sensibilities and adult-pitched humor.
  12. The Sessions
    The Sessions is first and foremost about Hawkes' virtuoso performance, one of those "My Left Foot"-y transformations that make audiences verklemmt and generate awards talk.
  13. Mank
    The story then becomes less a forensic accounting of a masterpiece than a bittersweet ode to a certain slice of old Hollywood: part love letter, part cautionary tale, and still somehow a mystery.
  14. March of the Penguins
    Luc Jacquet's exquisitely shot eye-of-God study of a year in the lives of these distinctive birds is a nature film built with a feel for the epic and a love of operatic narrative.
  15. Jonestown: The Life and Death of Peoples Temple
    The Peoples Temple congregation was sizably African-American. But when it comes to how those followers turned into a zombie Kool-Aid death cult, Jonestown: The Life and Death of Peoples Temple leaves you with more questions than you went in with.
  16. Spring Forward
    Great, restrained performances of Beatty and Schreiber, delicately framed by the filmmaker's taste for visual compositions.
  17. Two Family House
    The charm and art of De Felitta's gentle domestic sketch expand far beyond biographical borders.
  18. Annihilation
    It’s the kind of film that leaves you dazzled and a little shell-shocked — and not entirely sure whether your own moviegoing DNA hasn’t been altered a little in the process.
    • 79 Metascore
    • 91 Critic Score
    An Unmarried Woman
    In An Unmarried Woman, Paul Mazursky’s realist look at the dissolution of a marriage, Jill Clayburgh brought its effects to near-harrowing life.
  20. City of God
    Undeniably powerful, the work also comes with its own built-in shield against feeling any one character's difficulties too deeply, or for too long.
  21. Pariah
    Rees presents this vivid, hidden culture with raw honesty.
    • 79 Metascore
    • 75 Critic Score
    Lolita
    Stanley Kubrick’s adaptation of Vladimir Nabokov’s wicked, witty hymn to forbidden love loses some bite in the journey from novel to the screen, but it’s got its plummy pleasures, including a wonderfully subtle James Mason as Humbert Humbert, obsessed with the delicious Sue Lyon as the 14-year-old Lolita (bumped up from 12 in the book), and a marvelously blowzy Shelley Winters, hilarious as Lolita’s sexually voracious mom.
  23. Pride
    Celebrated theater director Mathew Warchus (Matilda, The Norman Conquests) unstiffens many of the script's clichés by affecting a sparkling, musical tone — producers have stated their intentions to bring Pride to Broadway, à la fellow miners-strike movie "Billy Elliot."
  24. Hotel Rwanda
    A strange history lesson that leaves us more overlectured than properly overwhelmed.
  25. Eureka
    Slow -- sometimes maddeningly, soporifically so.
    • 79 Metascore
    • 83 Critic Score
    El Cid
    El Cid remains a visually sumptuous film graced with a passionate score by Miklos Rozsa.
  27. Whose Streets?
    It’s stronger as a collection of Ferguson voices and figures, such as rapper Tef Poe, who quiets a crowd in one scene by warning, “You ain’t gonna outshoot [the police].” In moments like those, Whose Streets? is a tragic yet essential portrait of a community under siege.
  28. Cyrano de Bergerac
    Director Jean-Paul Rappeneau makes the mistake of treating Cyrano de Bergerac as though it were some lost Shakespearean tragedy instead of the wonderfully gimmicky (and familiar) tearjerker it is.
  29. Joan Rivers: A Piece of Work
    She's a teller of hilarious gutbucket truths as surely as Lenny Bruce and Richard Pryor ever were. Yet while they were consumed by their demons, Rivers is just the opposite.
  30. Baran
    There are moments in Baran as wholesomely heart-tugging as any involving Charlie Chaplin and a blind girl, but the film is saved from aren't-kids-cute sentimentality by a warmth that isn't faked and a stately sense of composition.
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