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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  1. Orlando
    As a fantasy, Orlando has been spun out of a rather glib idea: that the mere assertion of Androgyny As Destiny is automatically a brave, emotionally triumphant stance for our time. The truth is, when androgyny is shrouded in this much deadening ”art,” it becomes little more than a haughty exercise in academic chic.
  2. Bastard Out of Carolina
    The agonizing moments that convey what it's like for Bone to feel helpless and afraid of Daddy Glen even when he's not torturing her are where the art is. The pornographic violence is artifice. [13 Dec 1996]
    • Entertainment Weekly
  3. Okja
    Okja in it. It’s the antithesis of cookie-cutter, made-by-committee filmmaking. Prepare to be amazed, grossed out, provoked, punchdrunk, and tickled.
  4. Omar
    With the exception of Waleed F. Zuaiter, who does a remarkable good-cop act as an Israeli agent, the cast is composed of first-time actors who bring realism to a tragic story. It manages to punch you in the gut and break your heart at the same time.
    • 75 Metascore
    • 83 Critic Score
    Manhunter
    The brilliance of Michael Mann's Manhunter is that it appreciates that the true nexus of humanity is our shared closeness.
  6. Titane
    In an era when nearly everything that can be done on film already has been, Titane forges something sensational from nerve and pure metal, and makes it new.
  7. Mission: Impossible - Rogue Nation
    Rogue Nation may not be the best, the tightest, or even the most logically coherent M:I flick, but there should be more movies like it: relentlessly thrilling, smart entertainments for folks who can’t tell the difference between Quicksilver and The Flash—and aren’t particularly interested in trying to learn the difference either.
  8. Frozen
    Frozen is a squarely enchanting fairy tale that shows you how the definition of what's fresh in animation can shift.
  9. Solas
    After all of its sadness, a tender redemptive glow.
  10. On the Run
    Genre-hoppers like Steven Soderbergh ought to love this neat triple doozy. [Note: From a review of the entire trilogy.]
  11. S21: The Khmer Rouge Death Machine
    Yet S21, unlike many documentaries about the Nazi era, isn't a sickening panorama of brutality. Shot on video, it's quiet and intimate.
  12. True History of the Kelly Gang
    You can see gifted actors like Hoult and MacKay struggling to make the most of the material, and add finer shadings to Shaun Grant's bare-knuckled script. But for all its real visual flair, it's hard not to feel that the film misses something crucial about Kelly in the end — trading machismo for manhood, and sensation for true history.
  13. Life, Animated
    The Suskinds’ humongous hearts are obviously in the right place and their openness is to be admired and encouraged — even if a book, more than a movie, remains the better venue to fairly and honestly tell Owen’s extraordinary story.
  14. Waitress
    A wee romantic charmer, a delectable Dixie screwball romp that never loses its spry sense of discovery.
  15. Who's Afraid of Virginia Woolf?
    It features the best real-life husband-wife pairing onscreen ever.
  16. The Skeleton Twins
    It's a shockingly vulnerable performance (Hader), one of the best I've seen all year.
  17. Marina Abramovic: The Artist Is Present
    We're given an intimate seat to this wildly democratic - and creepily messianic - spectacle.
  18. The Bridesmaid
    If The Bridesmaid is middle-drawer Chabrol, it's almost worth going to just to watch Laura Smet, a vamp of not-so-basic instinct.
  19. Natural Born Killers
    Stone takes his characters right over the top, rubbing our noses in our own lust for excess, and some viewers are bound to say that he's gone too far. Yet this may be one case where too far is just far enough-where a gifted filmmaker has transformed his own attraction to violence into an art of depraved catharsis.
  20. Me and Earl and the Dying Girl
    Somewhere along the way Earl eases up on the suburban–Wes Anderson whimsy and starts to find its heart, infusing the story’s self-conscious cleverness and trick-shot set pieces with something sweeter, sadder, and even a little bit profound. In other words, it grows up.
  21. Drunk Stoned Brilliant Dead: The Story of the National Lampoon
    Douglas Tirola’s doc about the satirical bible’s rise and fall is fascinating, funny, smart, juvenile, tragic, and likely to offend just about everyone. It’s a must-see for anyone who cares about comedy.
  22. 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.
  23. Sicko
    The Cuban escapade, designed to provoke, backfires when he loses focus by including Cuban firefighters in an homage to 9/11 first responders.
  24. Monster
    In Monster Theron undergoes one of the most startling transformations in the history of movies.
  25. The Lady and the Duke
    The technique is impressive. But it would count for little if the human story -- of a magnetic, resourceful, and, in the way of all Rohmer heroines, articulate woman who was mistress to the Duke of Orleans -- weren't engrossing on its own dramatic terms.
  26. Daddy Longlegs
    A disconcertingly jumpy tale of breathtakingly crummy parenting, the windblown movie dares a tolerant audience not to call Child Services.
  27. A Bigger Splash
    This reworking of the 1969 erotic thriller "La Piscine" beautifully explores the difficulties of communication. Aging rock star Marianne Lane (Tilda Swinton), muted by vocal surgery, is dealing with Harry (Ralph Fiennes), a former flame.
  28. Tabloid
    At 88 minutes, Tabloid is short and sweet (it's pure movie candy), but by the end we've forged an emotional connection to Joyce McKinney at the deep core of her unapologetic fearless/nutty valor. And that's what really makes a great tabloid story: It's a vortex that's also a mirror.
  29. What Maisie Knew
    In this bleak indie bummer that confuses hopelessness with depth, they're really nothing more than selfish, one-dimensional monsters. Maisie's better off without them.
  30. Key Largo
    Key Largo is heaps of fun if you’re willing to go along for the ride, but perhaps slightly more silly than audiences might expect (or creators intend).
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