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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    • 84 Metascore
    • 91 Critic Score
    Cat on a Hot Tin Roof
    The manipulative Maggie, irritated by the heat and by Gooper and Sister Woman’s ”no-neck monsters,” is among Taylor’s most accomplished creations and earned her a second Oscar nod; the performance has an inner coil in it, as if something were ready to spring at any second.
    • 45 Metascore
    • 91 Reviewed by
      Ty Burr
    The Good Son
    The Good Son delivers its knuckle-gnawing set pieces with a skill that makes other thrillers look logy.
    • 67 Metascore
    • 91 Critic Score
    Reflections in a Golden Eye
    John Huston’s adaptation of Carson McCullers’ gothic novella of sexual repression, set in a Southern Army post, gave Taylor one of her most unusual roles. It’s a restrained, sensual performance with moments of high, if warped, comedy: an example of what a director with an original vision could elicit from her.
    • 68 Metascore
    • 91 Critic Score
    A Boy and His Dog
    Jones directed and scripted this mordant sci-fi comedy from a novella by Harlan Ellison; the satire gets a trifle woozy in the picture’s last third, but the film is redeemed by one of the great bad-taste endings of recent cinema.
  5. Miss Americana
    You wish you’d seen more of this Taylor a long time ago. But that’s the point of the whole movie, maybe: She was always there; it just took her 30 years to get to here.
  6. West Side Story
    It feels like a rare achievement to even attempt to scale the unscalable and still, after more than half a century, be able to make it sing.
  7. Dick Johnson Is Dead
    Like a sturdier Mr. Rogers who just happens to prefer red anoraks to cardigans, Dick comes off as both a kind of holy sage and an extremely good sport — a man whose gentle, pure-hearted exuberance swells to fill nearly every frame.
  8. Minari
    Minari works quietly and methodically, embracing its lush rural setting with striking glimpses of its characters, alone against vast and empty landscapes. Chung’s directing feels drawn from memory, the scattered and sparkling quality of recollections, carefully assembled. It’s perhaps why every second rings so true.
  9. On the Record
    If the subject ultimately proves to be more slippery and diffuse than in the duo’s previous films (The Invisible War addressed sexual assault in the military, The Hunting Ground, campus rape), it also never feels like less than required viewing: brutal, heartbreaking, and — with or without Oprah’s co-sign — utterly necessary.
    • 86 Metascore
    • 91 Critic Score
    Crip Camp: A Disability Revolution
    Camp, like last year's "American Factory," is a Netflix project with the not-inconsiderable heft of executive producers Barack and Michelle Obama behind it, which will undoubtedly earn it some extra attention. That's great if it helps the film, though it's clear who the real heroes are here: a group of kids that society consistently marginalized, mistreated, and ignored, until they fought their own way off of the sidelines and into the world.
  11. Black Bear
    It’s brainy, sure, but the emotional experience is what’s most vivid. The plot beats may confound you, but the feelings behind them are crystal-clear.
  12. Boys State
    Mostly though, State tells a story both heartbreaking and hopeful: part C-Span, part Lord of the Flies, and wholly unforgettable.
  13. Welcome to Chechnya
    It's shocking, and it should be. But Welcome finds tender, funny moments too — and even, in the end, some kind of hope.
    • 67 Metascore
    • 91 Critic Score
    Dead Men Don't Wear Plaid
    The vintage footage is seamlessly integrated into the action, and the end result is both very funny and very true to the conventions of the detective movie.
    • 82 Metascore
    • 91 Critic Score
    Da 5 Bloods
    Lee’s latest is a crackerjack drama, directed by a filmmaker who remains in total control of his once-in-a-generation gifts and utilizes them to synthesize story and history into something new.
    • 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.
  17. Elvis
    It may not be slavishly devoted to the facts (this isn't your typical birth-to-deather), but as with Todd Haynes's glam fantasia Velvet Goldmine, the movie achieves something trickier and more valuable, mining shocking intimacy from sweeping cultural changes.
  18. Athlete A
    A measured if still-maddening look into the 2016 USA Gymnastics scandal.
    • 82 Metascore
    • 91 Critic Score
    Thieves Like Us
    Anchored by Keith Carradine and Shelley Duvall’s romance and full of Altman’s typical aural flourishes (old-time radio shows serve as the soundtrack), Thieves Like Us proves that it takes both joy and melancholy to equal nostalgia.
    • 88 Metascore
    • 91 Reviewed by
      Ty Burr
    Wild Strawberries
    A film that goes where many others have gone (yes, this is Scrooge for Ph.D.s) but with a subtlety few have dreamed of?
  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.
    • 92 Metascore
    • 91 Critic Score
    Brief Encounter
    Director David Lean’s magnificent rendering of the short, passionate, and unconsummated affair between two middle-class, middle-aged Brits remains the most memorable treatment of extramarital romance in movie history.
    • 86 Metascore
    • 91 Reviewed by
      Ty Burr
    Point Blank
    The lead character has been aptly renamed Walker, and, as played by Marvin in what may be the actor’s most emblematic performance, he strides through Los Angeles like a gangland golem: watchful, unstoppable, frighteningly silent.
  24. Without Limits
    A richly intimate sports fable.
  25. Judas and the Black Messiah
    Black Messiah's center of gravity has to be a Hampton you can't look away from, and Kaluuya — alternately raw, tender, and incendiary — duly electrifies every scene he's in. Righteous as the road may be, his Fred hasn't been flattened to fit the broad Wikipedia-worn contours of a martyr or a hero; he lives and breathes, down to the last indelible frame.
  26. Time
    It tells a story as urgent and beautifully human as almost anything on screen this year.
    • 76 Metascore
    • 91 Critic Score
    Father of the Bride
    The scenes between Taylor and Spencer Tracy are sweet and utterly lacking in artifice, and although the movie asks little more than her presence, she provides it with simple, natural grace.
  28. Ammonite
    There's an austerity to the film — long shots of stone and candlelight, clipped dialogue — that can feel rigorous, almost grim. But Lee (God's Own Country) is only building a richer kind of mood, and priming the canvas for his actresses, who reward that faith with remarkable performances.
  29. Totally Under Control
    The movie’s title, by the way, comes from the president’s own evaluation of his handling of the virus, a phrase he proudly repeated more than once.
  30. One Night in Miami
    A quintessentially American tale; profane, profound, and beautiful.
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