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. I, Tonya
    The skating scenes, too, are thrilling, but Robbie is the real revelation. In a performance that goes far beyond bad perms and tabloid punchlines, she’s a powerhouse: a scrappy, defiant subversion of the American dream. You won’t just find yourself rooting for this crazy kid; you might even fall a little bit in love.
  2. Phantom Thread
    Like all of Anderson’s films (the best of which remain Boogie Nights and Magnolia), Phantom Thread is meticulously crafted, visually sumptuous, impeccably acted, and very, very directorly. But until the final act, this straight-jacketed character study is also pretty tame stuff — emotionally remote, a bit too studied, and far easier to admire than surrender to and swoon over.
  3. 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.
  4. The Shape of Water
    It's both weird and wonderful.
  5. The Disaster Artist
    It feels only appropriate that James Franco, an actor and director for whom weirdness is next to godliness, would be the one to tell his story.
  6. Wonder Wheel
    It’s undercooked even by the filmmaker’s own late-career standards. Yes, Coney Island has never looked more gorgeously golden-hued (thanks to cinematographer Vittorio Storaro), but Allen has seldom been less sharp.
  7. The Man Who Invented Christmas
    Again, we know the beats by heart, but there’s a reason A Christmas Carol has been told every which way from Muppets to Disney. You can’t help getting swept up in it, even if you’ve heard it all before.
  8. Darkest Hour
    I don’t think we’ll ever see anyone else do Churchill this well again unless the man himself comes back from the dead.
  9. Call Me by Your Name
    It’s real life, heartbreaking and sublime.
  10. Coco
    The vividness of the narrative never quite matches the riotous swirl of color and culture on screen — and neither do the songs, sadly, for how central they are to the story. Instead, Coco settles into something gentler but still irrefutably sweet: a movie that plays safe with the status quo, even as it breaks with it.
  11. Roman J. Israel, Esq.
    Roman J. Israel, Esq. doesn’t quite have the same frayed-wire electricity as "Nightcrawler," but what it does have on its side is Denzel Washington.
  12. Jim & Andy: The Great Beyond — Featuring a Very Special, Contractually Obligated Mention of Tony Clifton
    Jim & Andy is fascinating, but it lands on a weird message: Thank goodness Andy Kaufman existed so Jim Carrey could play him in a movie.
  13. Mudbound
    I’m not quite sure how Rees (2011’s Pariah) has done it, exactly, but the depth of heartbreak and humanity in this — just her second feature film — is remarkable.
  14. Justice League
    First, the good news. Justice League is better than its joylessly somber dress rehearsal, Batman v Superman: Dawn of Justice. Now the “but”…you knew there was a “but” coming, right? But it also marks a pretty steep comedown from the giddy highs of Wonder Woman.
  15. Three Billboards Outside Ebbing, Missouri
    A tar-black comedy so caustic it nearly burns a hole in the screen, Three Billboards Outside Ebbing, Missouri banks a lot on the gale force of Frances McDormand, and nearly pulls it off.
  16. Thelma
    Thelma doesn’t play with pig’s blood and jump scares; its dreamlike dread is subtler and stranger, and much harder to shake.
  17. Daddy's Home 2
    Of course, there’s a sort of comfort in familiarity, especially around the traditions of the holidays. But Daddy’s Home 2 never manages to really catch you off guard and crack you up the way the best comedies should.
  18. Murder on the Orient Express
    Branagh executes his double duties with a gratifyingly light touch, tweaking the story’s more mothballed elements without burying it all in winky wham-bam modernity.
  19. Lady Bird
    Gerwig doesn’t trap her protagonist in the oblivious underage bubble that most coming-of-age dramedies inhabit; Lady Bird’s parents, played by Tracy Letts and Laurie Metcalf, are fully formed humans with their own deep flaws and vulnerabilities.
  20. The Killing of a Sacred Deer
    Farrell delivers his lines with the same replicant monotone he used in The Lobster. And Kidman, the only cast member who expresses recognizably human emotions, extends her recent hot streak. But even she’s not enough to give this head-scratcher any real life.
  21. A Bad Moms Christmas
    What follows is another slapstick dose of hard-R ridiculosity with a soft-nougat center, but it also passes the Bechdel test maybe better than any other film this year, and its older generation of stars are too smart not to go to town on their stock roles.
  22. Novitiate
    First-time director Maggie Betts has said she based her story in part on extended research into the aftershocks of Vatican II’s new liberties — in its wake, devoted members left the Church in droves — and on personal biographies of the women who experienced it firsthand.
  23. Jigsaw
    It feels too long, and it’s only 90 minutes. Jigsaw’s lifecoach-gone-mad ruminations have never sounded less threatening: He is become mansplainer, destroyer of drama. But there are lasers. I liked the lasers.
  24. Thank You for Your Service
    Thank You For Service is so successful at capturing the Iraq War’s effects on American lives.
  25. Wonderstruck
    Even a ravishingly shot finale — Queens has never looked so enchanting — can’t quite paper over the weak resolution of the plot’s central mystery.
  26. The Square
    Only half of these setups go anywhere very interesting. The rest just feel like button-pushing stunts that, like so much of the merry-prankster conceptual art Christian champions, zero in on your intellect rather than your gut. Or, better yet, your heart
  27. Suburbicon
    The movie does get some fun gory mileage out of its cracked-Pleasantville premise; but mostly it feels like broad farce madly in search of a cohesive center, and a soul.
  28. The Snowman
    The Snowman is completely bereft of either style or emotion.
  29. BPM (Beats Per Minute)
    There’s something uniquely, transcendently beautiful in Campillo’s particular vision and the unhurried way he unfurls it.
    • 21 Metascore
    • 25 Critic Score
    Geostorm
    A disastrous disaster movie that is actually quite low on the disasters to its own detriment.
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