Entertainment Weekly's Scores

Select another publication »
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
view
per page
  1. Dunkirk
    This is visceral, big-budget filmmaking that can be called Art. It’s also, hands down, the best motion picture of the year so far.
  2. To the Bone
    For young people suffering, the movie offers both hope and clarity; for more experienced viewers, it may come off a little too much like "Girl, Interrupted" through a Lifetime lens.
  3. Lady Macbeth
    There’s a provocative idea at the center of Oldroyd’s beautifully photographed film — repression exploding into madness and violence. But as the body count rises, Lady Macbeth loses its secret weapon: sympathy.
  4. Girls Trip
    The jokes that are there are shocking and hysterical, and unlike some similar comedies about grownup friends, the four core characters are actually likeable.
  5. Valerian and the City of a Thousand Planets
    During the film’s intoxicating first 30 minutes, for example, I couldn’t decide whether what I was watching was brilliantly bonkers or total folly. Then, as the story went on, it came into sharper and sharper focus: Valerian is an epic mess.
  6. A Touch of Sin
    Sin, more stylized than the director’s previous work, is also more detached.
  7. Chaplin
    A massive Hollywood biopic about a man who never quite seems there.
  8. Patriot Games
    For Patriot Games to have been more than a generic international thriller, it would have needed to take us deep inside the clandestine organizations — the IRA and the CIA — on which Clancy is fixated. That doesn’t happen.
  9. Hot Shots!
    Hot Shots! offers a satisfying kick in the pants to a movie (and an era) that has more than earned it.
  10. Eddie Murphy: Raw
    Watching his deft, effortless character work chafe against the outermost boundaries of the stand-up format, you sense the transgressive energy of Richard Pryor filtered through leading-man charisma — albeit tinged with hostile paranoia.
  11. Despicable Me 3
    What shines through is the visual wit and innate sweetness of the storytelling, and Carell’s cackling, cueball-skulled misanthrope — a (mostly) reformed scoundrel who can still have his cake, and arsenic too.
  12. Spider-Man: Homecoming
    A brightly contemporary retelling that is not so much an origin story as a coming of age: The On-His-Way-to-Amazing Spider-Boy.
  13. City of Ghosts
    City of Ghosts shows us what journalism can do in the face of evil. Its message is haunting, humane, and ultimately hopeful.
  14. A Ghost Story
    Some, no doubt, will find Lowery’s playfully surreal experiment (a ghost story told from the POV of the ghost) haunting, lyrical, and moving. Others (ahem, guilty as charged) will just find it maddening, inscrutable, and alienating. Check it out, then take your side in the debate.
  15. The Little Hours
    Writer-director Jeff Baena adapts parts of Boccaccio’s Decameron into an absurd and hysterical tale of nuns gone wild.
  16. Okja
    Okja in it. It’s the antithesis of cookie-cutter, made-by-committee filmmaking. Prepare to be amazed, grossed out, provoked, punchdrunk, and tickled.
  17. Baby Driver
    With Wright in the driver’s seat, your standard getaway driver story is transformed into a giddy, adrenaline-filled joyride that’ll leave you gripping the edge of your seat and tapping your feet.
  18. War for the Planet of the Apes
    Like Caesar and company, the films seem to be getting more intelligent and human as they evolve.
  19. The Beguiled
    For all that lavish calibration, its beauty is a little remote, too — so beguiled by style that it forgets, or simply declines, to make us feel too much.
  20. Transformers: The Last Knight
    Monster metal, mass destruction, Anthony Hopkins saying “dude.” This is your brain on Michael Bay—a cortex scramble so amped on pyro and noise and brawling cyborgs it can only process what’s happening on screen in onomatopoeia: Clang! Pew-pew! Kablooey!
  21. 47 Meters Down
    As far as cheap warm-weather junk food goes, it will suffice. It will have to.
    • 65 Metascore
    • 75 Critic Score
    Maudie
    Like one of the many flowers Maud painted in the single-room, seaside shack she and Everett shared, Maudie is breezy and digestible. On an aesthetic level, Maud’s creations aren’t that interesting, but Maudie cherishes the intent of the artist above all, acknowledging that a true work of art is often found in exploring why the brush is moved in the first place.
  23. The Book of Henry
    Lieberher delivered such a nuanced performance in Midnight Special (ditto Tremblay, in Room) that The Book of Henry can (we hope) just be chalked up to a case of early-career hiccups.
  24. Rough Night
    A raunchy, wildly off-the-rails farce from the team that more or less brought you Broad City.
  25. Cars 3
    Fee steers Cars 3 like the sleek piece of movie machinery it is—a standard ride with a half-full tank, a gorgeous paint job, and not much at all under the hood.
  26. My Cousin Rachel
    A gothic moodpiece masquerading as a thriller, My Cousin Rachel is a misdirected swoon of a movie—long on black-veiled romance and ravishing atmosphere and a little short, alas, on dividends.
  27. Megan Leavey
    Megan Leavey is one of those strong-arm soaps, and it certainly doesn’t hurt that it has a certain secret weapon in the forced-waterworks department—an adorable bomb-sniffing German shepherd. All together now: Awwwwww.
  28. Beatriz at Dinner
    Years from now, when the orbital politics of the film have dissolved, what will resonate about Beatriz at Dinner will be the sight of Hayek — leaps and bounds more enchanting a screen presence than the performers surrounding her — as a poignant object of neglect.
  29. 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.
  30. The Mummy
    I’m not sure that this aimless, lukewarm take on The Mummy is how the studio dreamed that its Dark Universe would begin. But it’s just good enough to keep you curious about what comes next.
Page:

Top Trailers

See all »
See all trailers »