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 2.1 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. Paddington 2
    A delightfully heartwarming tale about everyone’s favorite marmalade-loving bear.
  2. I Am Not Your Negro
    If there’s a flaw with the film (and it’s a minor one), it’s Peck’s impulse to cram it with clips from lily-white Doris Day movies and John Wayne Westerns that are a bit too on the nose.
  3. By Sidney Lumet
    As an introduction to a first-class director who shouldn’t require any introduction at all, By Sidney Lumet is a thoughtful and thought-provoking treat.
  4. Isle of Dogs
    The movie’s darker allegory of persecution and internment isn’t hard to miss, though, and the dogs themselves, with their tactile tufts of fur and Buster Keaton eyes, have an endearing, complicated humanity.
  5. Detroit
    A sincere effort to illuminate a singularly dark chapter in history — and a stark reminder of exactly what gets lost when human beings fail to take care of their own.
  6. Call Me by Your Name
    It’s real life, heartbreaking and sublime.
  7. 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.
  8. 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.
  9. A Fantastic Woman
    It’s heartbreaking, illuminating, and yes, fantastic, just to watch her (Marina) live.
  10. First Man
    It’s very much its own thing – part harrowing and exhilarating space epic on a grand canvas and part intimate character study in miniature. And while both of those elements are stunning, especially when you consider just how early Chazelle is in his career as a director, the character sections are slightly less successful.
  11. Private Life
    It’s about perseverance, compassion, and empathy.
  12. Stronger
    There’s a raw, tangible humanity to nearly every scene that sets the film gratifyingly apart.
  13. Thelma
    Thelma doesn’t play with pig’s blood and jump scares; its dreamlike dread is subtler and stranger, and much harder to shake.
  14. BPM (Beats Per Minute)
    There’s something uniquely, transcendently beautiful in Campillo’s particular vision and the unhurried way he unfurls it.
  15. Good Time
    The wild night eventually turns downright rabid, but ­Pattinson anchors Good Time, completely selling Connie from the moment he bursts into the frame and delivering the best performance of his career.
  16. Midnight Cowboy
    Even as a kid, I could see that Midnight Cowboy’s true subject isn’t decadence but loneliness...Midnight Cowboy’s peep-show vision of Manhattan lowlife may no longer be shocking, but what is shocking, in 1994, is to see a major studio film linger this lovingly on characters who have nothing to offer the audience but their own lost souls.
  17. Blow Out
    Deliciously twisty and twisted.
  18. City Slickers
    Crystal’s ordinariness — his utter lack of glamour — really works for him here. He’s far more pleasureful to watch in this sort of dramatic-comedy role than, say, Robin Williams, because his comfy, urban-shlemiel personality helps ground the jokes.
  19. Rosemary's Baby
    Using New York’s famed apartment house the Dakota for all its cavernous shadowiness, and exploiting the 23-year-old Farrow’s tremulous space-child vulnerability to underscore her terror and solitude, Polanski worked with an elegant restraint that less talented filmmakers have been trying to mimic ever since.
  20. Spartacus
    The one scene with a hint of the eccentrically detached brilliance that would come to define ”Stanley Kubrick Movies” is the climactic battle, in which marching blocks of Roman soldiers are mowed down by fire: It’s war as the greatest halftime show ever choregraphed. Until then, Spartacus envelops you in the sort of bedazzled hero worship Hollywood never quite managed to bring off this rousingly again.
  21. Molly's Game
    Molly’s Game is a cool, crackling, confident film that appeals to your intelligence instead of insulting it. At the movies, it may be the closest we’ll get to a Christmas miracle.
  22. The Nile Hilton Incident
    The whole thing feels a bit like an Arabic riff on "Chinatown" or "L.A. Confidential" — a neonoir with a tawdry edge where our imperfect hero will eventually be doomed. It’s not a question of if, only when he will lose.
  23. 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.
  24. 78/52: Hitchcock’s Shower Scene
    In 1960 this was a shocking, sexually charged symphony of taboo-smashing terror. And thanks to the artistry of Alfred Hitchcock, it remains one today.
  25. 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.
  26. Everybody Knows
    If there’s one nit to pick with Everybody Knows, it’s that Farhadi’s films, as excellent as they are, are starting to feel a bit same-y. He’s plying the same family-in-crisis formula he’s worked before. That formula still works like gangbusters, but it’s becoming a formula nonetheless: Happiness and community curdle into paranoia and suspicion.
  27. Hercules
    Hercules, like Aladdin, zips Disney’s house animation style past sentimentality and into an age of ironic media-wise overload. That’s not a bad place for it to be.
  28. 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.
  29. Lean on Pete
    Pete is no kind of fairytale; instead, it’s something far sadder and better and more real.
  30. John Wick: Chapter 3 - Parabellum
    I don’t mean to give the impression that John Wick 3 is anything grander than a gorgeously choreographed, gratuitously violent action movie. But as gorgeously choreographed, gratuitously violent action movies go, it’s high art.
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