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. 28 Weeks Later
    Excels at creating a keen, creepy sense of a civilization stopped dead in its tracks -- vaporized, almost, except for those disemboweled bodies left still undisposed.
  2. Insomnia
    Superb psychological thriller.
  3. Kajillionaire
    Jenkins and a nearly unrecognizable Winger make the most of their small monsters, peeling back layers of callousness and calculation to hint at the messier motivations underneath.
  4. Control
    Control goes past the clichés of punk rock-god gloom to offer a snapshot of alienation that's shockingly humane.
  5. The House of Mirth
    This stunning movie -- one of the very best of the year -- makes a much read American classic feel new and freshly devastating.
  6. My Flesh and Blood
    You'd have to be a stone not to be affected by My Flesh and Blood, but the director, Jonathan Karsh, merges compassion with voyeurism until you can't tell the difference.
    • 78 Metascore
    • 83 Critic Score
    Long Strange Trip
    It’s all about finding the gems, and Long Strange Trip is a treasure chest.
  8. Top Gun: Maverick
    Director Joseph Kosinski (TRON: Legacy) revels in the sonic-boom rush of their many flight scenes, sending his jets swooping and spinning in impossible, equilibrium-rattling arcs. On the ground, too, his camera caresses every object in its view, almost as if he's making a rippling ad for America itself.
  9. Gas Food Lodging
    Gas Food Lodging is really about the same thing Thelma & Louise was about: It’s a portrait of working-class women betrayed and abandoned by men. Yet I vastly preferred this movie’s generous and buoyant tone.
  10. Starting Out in the Evening
    Andrew Wagner has made a lovely comedy of death and rebirth.
    • 78 Metascore
    • 100 Reviewed by
      Ty Burr
    Princess Mononoke
    Has the effect of making the average Disney film look like just another toy story.
  12. Head-On
    Propelled by ferocious sex, nasty violence, and coy interludes of traditional Turkish love songs.
    • 78 Metascore
    • 83 Critic Score
    The Witches
    From scene to scream, The Witches is good mean fun for the whole family.
  14. Lightning in a Bottle
    The music's sensational, but you keep waiting for the pledge number to flash up.
  15. Warfare
    That the specific task at hand in Warfare is so vague is a good reminder that though this happened 20 years ago, there are people right now who have been ordered to enforce political will with violence, and this savagery will likely repeat for all time.
  16. The Deep End
    Displays a promise it doesn't, in the end, live up to. See it for Swinton's embodiment of unadulterated maternal will.
  17. The Taste of Others
    Jaoui handles her crowd of vivid characters so naturally, and shoots her scenes so unobtrusively, that the diagrammatic cleverness of the plot never overwhelms the intelligence of the observations.
  18. Beware of Mr. Baker
    Spitting obscenities at the film's director, Jay Bulger, Baker recalls his days as: the '60s thrash caveman who gave Cream and Blind Faith their transcendent power surge; the pioneer of druggy hotel-room rampages; and the damaged purist who left the pop world for Africa. The movie salutes the rhythms and the wreckage.
    • 78 Metascore
    • 91 Critic Score
    A Better Tomorrow
    Chow-Yun Fat’s sleek underworld charisma and intense emotion still come through. As for the action scenes, the dubbing affects them not a whit: They’re as dizzying as any Woo has concocted, and the climactic gun battle has to be one of the most ridiculously exhilarating — or exhilaratingly ridiculous — sequences of its kind.
  20. A Bug's Life
    So obsessed with wowing you, in every corner of every frame, that as a movie it doesn't quite breathe.
  21. The War Room
    By the end of the movie, you realize that these two have devised nothing less than a media-age alternative to the Nixon era’s dirty tricks. The War Room is a giddy celebration of clean tricks.
  22. Precious: Based on the Novel 'Push' by Sapphire
    It's a potent and moving experience, because by the end you feel you've witnessed nothing less than the birth of a soul.
  23. Funny Ha Ha
    Andrew Bujalski's Funny Ha Ha, an ebullient sliver of a movie, follows a group of men and women in their early 20s, and for once the un-dialogue dialogue doesn't come off as an affectation.
  24. After Yang
    Like its muse, the movie feels a little like a black-box experiment, one that can be both frustratingly opaque and achingly lovely: a still-waters mystery whose ripples, even up to the last frame, only hint at what lies beneath.
  25. Into Great Silence
    The movie has a hushed sensual resonance, but it turns faith into an endurance test.
  26. Gloria Bell
    Moore — vulnerable but undauntable — lives every moment in her skin, fantastic to the last glorious frame.
  27. Blue Jasmine
    The movie is rich with class tension, and if Allen nails the moods of the wealthy, he also gets surprising, dynamic performances from Hawkins, Cannavale, and Andrew Dice Clay as the folks who have no money but may have a fuller sense of what life is.
  28. It Comes at Night
    With his follow-up, It Comes at Night, Shults has conjured another master class in anxiety, claustrophobia, and dread. He’s a natural-born filmmaker.
  29. Hellboy II: The Golden Army
    The Golden Army dazzles like something out of "Jason and the Argonauts." To make a comic-book fantasy this derivative yet this dazzling requires more than technique. It takes a director in touch with his inner hellboy.
  30. Please Give
    In Please Give, the sharp-eyed filmmaker sends her vibrant representative out into the world to explore what it means for a woman to be lucky and still feel itchy. The report has the resonant ring of truth.
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