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. Mary Queen of Scots
    What keeps the film from feeling like period-piece amber, all whispered alliances and wiggery, is the keenly feminist sensibility of first-time director Josie Rourke (her background is largely in theater) and the fierce charisma and complicated humanity of its two leads, sovereigns till the end.
  2. Blockers
    Sure, showing that girls can be as horny and impulsive and raunchy as guys isn’t exactly the most radical statement. But when it’s done this well, it certainly is a welcome change-up.
  3. Nobody's Fool
    Nobody’s Fool shines with intelligence and grace and the natural light of fine moviemaking. Like a shot of superior whiskey, it’s a sharp comfort in the grayness of winter
  4. Once Upon a Time ... in Hollywood
    It’s shaggy and self-indulgent and almost scandalously long; and in nearly every moment, pretty glorious. Once also has the good luck of being anchored by what might be two of the last true movie stars: Leonardo DiCaprio as Rick Dalton, a boozy, anxious actor staring down the bell curve of a never-quite-stellar career, and Brad Pitt as Cliff Booth, his taciturn stuntman turned trusty sidekick and consigliere.
    • 59 Metascore
    • 91 Reviewed by
      Ty Burr
    Mr. Holland's Opus
    The film captures how the constant turnover of students keeps educators poised between loss and rebirth, fuddy-duddyism and eternal kiddishness. That balance is there, most pleasurably, in Dreyfuss’ performance. The wonders of makeup and hairpieces have taken 20 years off his age, and his acting feels 20 years younger, too. He has an edgy vigor here that recalls his ebullient star turns of the late ’70s.
  6. Living in Oblivion
    Living in Oblivion celebrates the very act of filmmaking as grand folly, a triumph of absurdist heroism.
  7. Minding the Gap
    It’s heartbreaking, raw, and true. But it never veers into exploitation or becomes oppressively maudlin.
  8. Damsel
    Far from a perfect film — the morals are clunky, the pacing awkward at points — Damsel still manages to achieve the rare distinction of being both ambitious and just so much goddam fun.
  9. Hereditary
    Hereditary doesn’t reinvent horror cinema so much as polish the cobwebs off of its classics, strip them for parts, and refashion them into something that feels terrifyingly fresh and new.
  10. Sorry to Bother You
    Exploding with infectious originality, Boots Riley’s Sorry to Bother You may be the most wonderfully bizarre film of 2018.
  11. RBG
    RBG is an unapologetic valentine to Supreme Court Justice Ruth Bader Ginsburg, but a sharp and spiky one too.
  12. The Guilty
    The Guilty is an absolute workout that pulls the rug out from under you just when you think you have it figured out. The last ten minutes will keep you rattled long after you’ve left the theater.
  13. Mandy
    It’s a fully immersive experience that begs to be anchored by someone who’s lit from within by blinding neon, but who also, amidst all of the nutty squalls of genre scuzz can still wear his broken heart on his sleeve. And, these days, that list is a short one. In fact, there’s really only one name on it. Thankfully, Cosmatos found him.
  14. Pope Francis - A Man of His Word
    Whether he’s washing the feet of prisoners in America, visiting sick children in Africa, or praying with hurricane victims in Asia, Pope Francis doesn’t merely preach empathy, responsibility, and accountability, he lives it.
  15. The Seagull
    The Seagull is lush and dreamlike, leaving the drawing room for lake, field, and forest. Though we lose some of Chekhov’s claustrophobic talkiness, the dense poetry of his language, Mayer fully captures Chekhov’s sharp humor.
  16. Whitney
    Whitney feels like the kind of film anyone who cared at all about her should see: the fullest portrait yet — if one that will always, inevitably fall short — of a singular artist and human being who may have eluded understanding in the end, but still gave the world far more than she ever got back.
  17. The Monster Squad
    Fred Dekker’s 1987 horror comedy is, like totally, the ultimate ’80s movie. An agreeably goofy, Little Rascals-meets-The Goonies time passer, the movie is proudly anti-CGI.
  18. The Brady Bunch Movie
    The makers of The Brady Bunch Movie have too much affection for the show simply to skewer it with satire. What they’ve done is closer to alchemy: turned this cheese into comic gold.
  19. Shoplifters
    Kore-eda is working up to something else, steering the story he’s built so carefully toward an utterly unexpected detour. As much of what we think we know unravels, the film becomes not just an enjoyable, intermittently poignant portrait of imperfect people but a profound meditation on the meaning of family.
  20. Enter the Dragon
    A sequestered island, a slinky score, a villain with a secret scheme and a deadly prosthesis — it’d be good, cheesy fun even without the centerpiece fight sequences.
  21. In the Heights
    For all its rich tapestry and radiant ingenues, it's that casual centering of so many marginalized voices that makes the movie feel, in its own way, revolutionary: a Technicolor marvel as heady as Old Hollywood, and as modern as this moment.
  22. The Hate U Give
    If Tillman ties it all together a little neatly, he’s already served up a message that feels too fresh and important to dismiss — not of hate but of hope, and faith that even if sharing these stories can’t magically fix what’s broken, telling them still matters.
  23. Dark Money
    Kimberly Reed’s taut documentary is also damning, clear-eyed, and as gripping as any John Grisham thriller.
  24. Little Women
    If Gerwig’s woke Women-hood verges on anachronism, though, it also feels fully loyal to the spirit of Alcott, a woman always well ahead of her time. And like a sort of balm too, for an era when the novel’s long-held values — courage, kindness, strength in vulnerability — still feel a lot further away than they should.
  25. Mid90s
    He (Hill) makes Mid90s resonate with universal poignancy and electric energy; his kids are the best, messiest kind of real, and they’re alright.
  26. Free Solo
    In the end, the answer may be only slightly deeper than “because it’s there”, but for 100 nerve-racking minutes, Free Solo brings us one man’s suicidal quest with sympathy, grace, and a ton of adrenalin.
  27. Dragged Across Concrete
    It’s a cliché to say that they don’t make movies like this anymore — nasty, nihilistic, nicotine-stained ‘70s death trips. But thank goodness that Zahler’s doing everything in his power to prove that cliché wrong.
  28. Gloria Bell
    Moore — vulnerable but undauntable — lives every moment in her skin, fantastic to the last glorious frame.
  29. The Great Buster: A Celebration
    In The Great Buster, Bogdanovich has provided a brilliantly enthralling primer.
  30. Godzilla, King of the Monsters!
    Godzilla is still the most awesome of tacky movie monsters — a Jurassic knockoff of King Kong whose ritual stomping of Tokyo never quite lets you forget that you’re watching a man in a lizard suit trash a very elaborate toy train set.
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