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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    • 78 Metascore
    • 75 Critic Score
    Lassie Come Home
    The slightly older set will be hard-pressed to watch Lassie Come Home without a great big lump in the throat.
  2. Ex Machina
    Ex Machina is beautiful and ominous and features another delicately nuanced performance from Isaac, who’s quickly making a habit of them. But in the end, for all of Garland’s ambition, his reach winds up exceeding his grasp. The film is as synthetic as Ava.
  3. Oldboy
    Oldboy caused a love-it-or-hate-it stir at Cannes last year, and how could it not: It's an onslaught made to cause a sensation. Consider me simultaneously jolted and depressed.
  4. Morvern Callar
    A movie's refusal to judge bad behavior can be a subtle way of trumping the audience -- a passive-aggressive form of one-upmanship.
  5. The Sisters Brothers
    Sisters gets sadder and more eccentric as it goes along, and the ending actually tugs sweetly on a few heart strings, though it’s also hard not to wonder why exactly, with all the Westerns already in the cannon, this movie got made — other than to give its crew of excellent actors a chance to put on their boots and ride off, cock-eyed and whimsical, into some kind of sunset.
  6. La Ciénaga
    It sounds churlish to argue that a movie can have too much integrity for its own good, but that's exactly the problem with La Ciénaga.
  7. Jungle Fever
    What’s missing from Jungle Fever, I think, is a vision of the positive. By that, I don’t mean some shallow ”optimistic” message but, rather, an organic and casual sense of pleasure as one of the sustaining currents of everyday life — even in a country as mired in racism as this one.
  8. Harry Potter and the Half-Blood Prince
    But the story is, still and all, only a pause, deferring an intensely anticipated conclusion. And it's in that exquisite place of action and waiting that this elegantly balanced production emerges as a model adaptation.
  9. Zootopia
    Zootopia delivers the genre’s requisite barrage of quick-hit puns and pop culture riffs.
  10. Hard Eight
    Writer-director Paul Thomas Anderson crafts a plot of manipulation and chance, in which some zigs and zags are more convincing than others. Still, his feel for scuzz, for people living at the raw extremes of appetite, is palpable.
  11. Lost Boys of Sudan
    Yearns to be optimistic (juxtaposed with the disaster of Sudan, it certainly has the right to be), yet that only ends up underscoring its ache of sadness.
  12. Best in Show
    You giggle every so often, but you never give yourself over to the characters.
  13. Speed
    The film takes off from formula elements-it's yet another variation on "Die Hard"-but it manipulates those elements so skillfully, with such a canny mixture of delirium and restraint, that I walked out of the picture with the rare sensation that every gaudy thrill had been earned.
  14. Non-Fiction
    In the end, Non-Fiction is a warm, humane story that ends on a hopeful note reminiscent of "Hannah and Her Sisters." Life can be a messy business, but every so often it reveals moments of unexpected joy with perfect clarity.
  15. Eve's Bayou
    But the notable accomplishment of actress-writer Kasi Lemmons ("The Silence of the Lambs") in her feature directorial debut is in creating a landscape quite beautiful and entirely her own -- a fluid, feminine, African-American, Southern gothic narrative that covers a tremendous amount of emotional territory with the lightest and most graceful of steps.
  16. Mississippi Masala
    As long as Nair follows the two characters’ romantic moves or details the lives of their families (whose contrasting status on the ethnic-minority ladder marks them as both rivals and uneasy comrades), the movie is funny, observant, and deeply humane.
  17. Much Ado About Nothing
    The film isn't as fast and funny as it could be, although Nathan Fillion's easily offended constable injects some sorely needed comic relief.
  18. Up and Down
    Up and Down captures Prague life with a fervor that's comical but a longing that's serious; no one is easy to pigeonhole.
  19. Beach Rats
    Between "Moonlight" and the upcoming "Call Me By Your Name," some are calling this the golden age of gay coming-of-age cinema; Beach Rats’ slow pacing and dreamy verité style doesn’t feel made for quite that level of mainstream appeal. But still it gets under the skin, and stays there.
    • 78 Metascore
    • 67 Critic Score
    Enchanted April
    By the end of Enchanted April, there isn’t a single character—not even the spiky flapper—who retains much of an edge. That’s what’s appealing about the movie (everyone walks away happy) and also forgettable (everyone walks away mush).
  21. The Last Mistress
    Breillat, the flamethrower who made "Romance" and "Fat Girl," artfully twists period-piece drama to suit her provocative modern notions about sex, gender roles, and power.
  22. The Saddest Music in the World
    Hard to say who's luckier -- those who have seen the work of Canadian filmmaker Guy Maddin before and know what to expect, or those who haven't and for whom The Saddest Music in the World serves as an eye-popping introduction.
  23. Tracks
    What's on screen will leave you in a state of wonder. The sweeping cinematography surveys the cracked earth and Davidson's chapped skin with equal intensity, as if to remind us how vulnerable we puny mortals are.
  24. Magnolia
    Anderson's big, showy flower of a movie unfurls brilliantly, each plot petal a thing of exquisite design. Then it ripens. Then it disintegrates, leaving a mess of color and a faint whiff of rot.
  25. Sorry to Bother You
    Exploding with infectious originality, Boots Riley’s Sorry to Bother You may be the most wonderfully bizarre film of 2018.
    • 78 Metascore
    • 83 Critic Score
    All That Heaven Allows
    Boiling over with heated acting and schmaltzy scores, Douglas Sirk’s ’50s melodramas tap neatly into our collective trash psyche.
  27. 1917
    The film belongs to Chapman and more than anyone, MacKay, a 27-year-old Londoner with the long bones and baleful eyes of a porcelain saint or a lost Caulkin brother. His Lance Corporal Schofield isn’t just a surrogate Everyman; he’s hope and fear personified, and you couldn’t look away if you wanted to.
    • 78 Metascore
    • 83 Critic Score
    Gaslight
    It’s canny, gothic fun, helped along by Lansbury (in her film debut) as a tarty maid who delights in overstepping boundaries.
  29. The Substance
    While it is so over-the-top as to verge on camp, it is also a chillingly pointed expression of the madness that ensues in pursuit of impossible standards — and the self-loathing and hatred that emerges when women are pitted against each other and themselves.
  30. Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr.
    Fred Leuchter is just one deluded figure, but by the end of this great and chilling sick-joke documentary he stands as a living icon of the banality of evil.
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