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. I Carry You with Me
    In Ewing’s hands and as anchored by two superb performances, Iván and Gerardo’s romance gets scaled up to an epic, a searing saga of the undocumented experience in which love is the binding force.
    • 93 Metascore
    • 91 Critic Score
    8½
    Fellini weaves the director’s memories and fantasies into a brilliant blend as Guido comes to realize that lives, like movies, need direction.
  3. Borat Subsequent Moviefilm
    If the movie's entire axis spins on the kind of extreme discomfort comedy you almost need a pillow to chew on and a pile of Xanax to get through, that's also the particular genius of Baron Cohen, an artist who instinctively knows how to hold up a mirror — and that a cracked one can show us, maybe better than anything, exactly what we need to see.
  4. The Russia House
    It’s the lead actors who give the movie its surprisingly emotional texture. Connery is masterly as the boozing, disheveled, sentimental Barley — a hipster gone to seed — and he and Pfeiffer have a touching chemistry.
  5. Let Them All Talk
    There’s a loose, jazzy verve to the production, a sort of sonic and visual razzmatazz that gives the film a fanciful Oceans 11-style gloss. Mostly, though, Talk is just a chance to spend two hours watching Streep & Co. make the most of Deborah Eisenberg’s deliciously salty script, while Soderbergh — who also serves as cinematographer — shoots it all in ruthless, radiant light.
    • 77 Metascore
    • 91 Critic Score
    The Three Musketeers
    The movie Musketeers most faithful to Dumas’ spirit didn’t arrive until director Richard Lester (A Hard Day’s Night) delivered The Three Musketeers and The Four Musketeers. Overflowing with Lester’s trademark irreverence and slapstick, these films still retain a vivid and bawdy period flavor.
  7. Much Ado About Nothing
    It would be hard to imagine a moment when romantic passion seemed more desperate, more rapturous, more true.
  8. On the Count of Three
    The movie settles into the blackest kind of buddy comedy — a lacerating slice of nihilism rooted in real despair, and real I-love-you-man tenderness too.
  9. What's Love Got to Do with It
    The movie is far from perfect — it has the kind of clunky, episodic script that has bedeviled just about every musical biopic in history — yet it’s driven by an electrifying soundtrack and by two performances of staggering power.
    • 58 Metascore
    • 91 Critic Score
    Freaked
    The first half hour of this deliriously rude comedy, codirected by Winter and Tom Stern, is so overflowing with anarchic invention that it holds up against such certified classics as Duck Soup and Monty Python and the Holy Grail. The last 48 minutes aren’t bad, but they rely so heavily on gross-out makeup and special effects that the movie’s initial rush wears off.
    • 47 Metascore
    • 91 Critic Score
    Love Potion #9
    It’s the height of silliness: An elixir makes two wallflowers (Tate Donovan and Sandra Bullock) irresistible. But the blithe comedy Love Potion #9 is both playful and sweet — and its modest intentions fit the small screen snugly.
  12. Singles
    But here they’re all still young and flannel-y and full of hope—and nobody needs an app for that.
  13. Petite Maman
    Sciamma's elegant, melancholy fable captures something lovely and ineffable: a brief glimpse into life's great mystery.
  14. Microcosmos
    The revelation of Microcosmos isn’t just that the insect world has a complex and stirring order — it’s how close these bugs come to having minds.
  15. Damage
    Whether you respond to this movie may come down to the question of how far you think people are willing to go to realize their desires. Damage says that they’ll go all the way — past honor, past rationality, past sin. The movie may not always convince, but when it does it’s a cataclysmic peek into the erotic abyss.
  16. Riders of Justice
    A kind of popcorn movie that doesn't just let wit and storytelling serve as the garnish for big-bang action, but makes that its actual priority.
    • 62 Metascore
    • 91 Critic Score
    My Favorite Year
    My Favorite Year, a slight but sweet backstage comedy, now provides three levels of nostalgia: for the era of swashbuckling stars like Errol Flynn; for the golden age of TV that supplanted it; and for the presence of Peter O’Toole.
  18. Q & A
    Q&A is a major film by one of our finest mainstream directors. As both a portrait of modern-day corruption and an act of sheer storytelling bravura, it is not to be missed.
  19. Licorice Pizza
    Licorice (the title, never once mentioned or explained, remains a happy non sequitur) is a love letter to an era, and more than that a feeling: a tender, funny ramble forged in all the hope and absurdity of adolescence, one wild poly-blend rumpus at a time.
  20. A Hero
    Even as the story's inevitable reckoning descends, Farhadi allows his modest morality tale to take on a note of battered, ambiguous hope: a cautionary fable whose purest notes ring poignantly, painfully true.
  21. Roadrunner: A Film About Anthony Bourdain
    Roadrunner, steeped in the jittery punk-rock style and verve of its famously omnivorous muse, registers as more than a requiem or a postscript. It feels like an essential document­, created in the radical no-reservations spirit in which he lived
  22. Tenebrae
    Directed by Dario Argento, a.k.a. the Italian Hitchcock, the remastered giallo Tenebre is crammed with artsy camera work, intricate Rube Goldbergian death scenes, and a gruesome final reel where blood flows like the Tiber.
  23. The Power of the Dog
    Unless you're one of the few who's read Thomas Savage's 1967 book of the same name, on which the script is based, there's rarely a moment that doesn't feel racked with the queasy, thrilling promise of sudden violence or epiphany.
    • 74 Metascore
    • 91 Critic Score
    tick, tick...Boom!
    Tick, Tick… Boom! is a totem for the thrills and trials of making art, with all the sacrifices and empathy it requires.
    • 65 Metascore
    • 91 Critic Score
    The Boys in the Band
    This heavy-handed relic of a self-loathing time proves surprisingly relevant — not to mention funny, disturbing, and deeply moving.
    • 61 Metascore
    • 91 Critic Score
    Brain Damage
    Writer-director Frank Henenlotter’s disturbing antidrug parable has more gross-out scenes than it probably needs, but it also has the funniest and most literate dialogue ever to grace a no-budget monster movie.
  27. The Eel
    In the creature’s mating habits and its wriggling life, Imamura creates a parallel to the upstream battle of these fragile outsiders, and he makes his points with abundant, tender humor.
  28. Spencer
    For all of Larraín's artistry, Spencer would crumble in the hands of the wrong actress, and Stewart gives one of the best performances of her career so far as this highly subjective version of Diana.
    • 79 Metascore
    • 91 Critic Score
    An Unmarried Woman
    In An Unmarried Woman, Paul Mazursky’s realist look at the dissolution of a marriage, Jill Clayburgh brought its effects to near-harrowing life.
  30. Marcel the Shell with Shoes On
    At just under 90 minutes, the movie is as short and sweet as its stamp-size muse, but an uncommon loveliness lingers; Marcel might just be the most purely joyful, stealthily profound movie experience of the year.
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