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 2.2 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. Smile
    Bacon is great fun as a girl on the verge of a nervous breakdown, chirping with increasing desperation that she's fine, and Finn is a pleasingly nervy stylist, letting the camera tilt and flip at seasick angles and ratcheting the tension as he goes. Smile is a pretty silly movie by any metric; still, it has teeth.
  2. White Noise
    Compared to the tender groundedness of Baumbach's finest films, like The Squid and the Whale and Marriage Story, the scampering leaps and feints of his script here come off as deliberately arch, even artificial. The movie's final scene, though, without spoiling too much, is also easily its best.
  3. Amsterdam
    The production and costume design are, unsurprisingly, impeccable. But the resolution of the central mystery is both rushed and obtuse, and it all unfolds in a frenetic, flailing whirl of pomp and nonsense that Amsterdam's strange circuitous journey and almost embarrassing surplus of stars never quite justifies: a whirring music-box curiosity in search of some elusive purpose, and a point.
  4. Bros
    Bros wears its queerness proudly, without stooping to cater overmuch to whatever elusive demographics might qualify it as a "crossover" success. But good comedy doesn't hang on pronouns or preferences; like this sweet, sharp movie, all it has to be is itself.
  5. Nothing Compares
    As an intimate, often infuriating portrait of an artist and era, it's hard to argue with the raw power of the story on screen — and the timeliness of it too, no matter how long overdue.
  6. Catherine Called Birdy
    A sly fairytale about a medieval tween that manages to be both cheeky and modern without losing its heart.
  7. A Jazzman's Blues
    [Perry] also has a way of making even the most telegraphed twists and overheated dialogue ring with conviction, a consummate entertainer to the end.
  8. Pearl
    Co-scripting with her director, Goth is the standout, displaying a verbal vigor and earthiness she's been unable to tap so far (not even in movies like Nymphomaniac and A Cure for Wellness).
  9. Blonde
    The main thing the movie misses in portraying Marilyn solely as a tragic sex bomb isn't just the pleasure that Monroe herself brought to millions, but de Armas's inner light too. The spark and vitality so evident in previous projects like Knives Out and No Time to Die has been smothered down to one note: walking wound. What's left is mostly empty iconography and a few indelible images, a bombastic curiosity wrapped in the guise of high art. Some like it cold.
  10. The Banshees of Inisherin
    To be corny, which the film is decidedly not, it's about life: the brevity of it, the risks we do or don't take, who in the end we choose to share it with. And for all the pettiness, absurdity, and outright threats of violence, it's pretty feckin' wonderful.
  11. Causeway
    It's nice to see actors like these do such subtle, sympathetic work for a gifted young director — and to find an outlet for storytelling that doesn't demand neat redemption, but still allows for grace.
  12. My Policeman
    Policeman, as emotionally earnest and elegantly made as it is, mostly feels like a movie we've seen many times before: a pleasantly escapist two hours with pretty people in pretty clothes, madly sublimating their feelings until the final, luminous frame.
  13. The Whale
    Here it often feels clumsy and maddeningly inconsistent, stranding Fraser in a melodrama undeserving of his lovely, unshowy performance. Whatever he wins for The Whale — and early prizes have already come — he deserves. The rest is just chum.
  14. The Fabelmans
    Because it's Spielberg, it's all beautifully, meticulously rendered, and not a little glazed in wistful sentiment: an infinitely tender, sometimes misty ode to the people who raised him and the singular passion for cinema that shaped him.
  15. The Woman King
    The fighting, when it comes — from competing tribes, and from white colonizers steadily advancing an international slave trade — is viscerally satisfying too, even as the screenplay, by Dana Stevens (Fatherhood) and actress Maria Bello, works mostly in the broad strokes of genre storytelling.
  16. Bones and All
    Take away the people-eating, and it could almost be a Springsteen song. Which often makes it feel, in a strange way, like Guadagnino's most traditional film to date — a born provocateur's faithful ode to a classic cinematic genre, only with human gristle between its teeth.
  17. TÁR
    The movie belongs to Blanchett, in a turn so exacting and enormous that it feels less like a performance than a full-body possession.
  18. Don't Worry Darling
    The movie, whatever its pile of ideas about love, gender constructs, and modern living, never really transcends Stepford mood-board pastiche. It's all nefarious and gorgeous, Darling, and strictly nonsense in the end.
  19. Empire of Light
    Colman, her eyes darting between hope and devastation, is so lit-up and specific (and funny, a quality that doesn't seem to get mentioned enough) that she lifts nearly every scene.
  20. Women Talking
    There's a deep vein of humor and humanity that Polley and her actors mine from the text, and something quietly mesmerizing in their meticulous world-building.
  21. Honk for Jesus. Save Your Soul.
    Honk for Jesus shares a lot of Tammy Faye's small-screen feel and sense for winky episodic comedy; like that movie too, it's held together by the tensile strength of the petite, bedazzled female at its center. Awards-season gold probably won't strike twice in a row for pastor's wives, but Hall deserves some kind of prize for the soul she pours into this part.
  22. Three Thousand Years of Longing
    It's a gentler, sadder movie than the dizzying trailer suggests, and less driven by plot than a stickler for storytelling like Alithea might prefer: a loopy little jewel-box reverie, slipped between two Furies.
  23. Breaking
    A showcase mostly for Boyega and Beharie, whose tense, delicate interplay makes up much of the movie's emotional core.
  24. Mack & Rita
    Keaton seems to be having a ball with her pratfalls too, though you wish it wasn't all played so silly and flat-out conventional in the end: new broad, old tricks.
  25. Beast
    It's August and we have Idris, Beast seems to say; do you really have anywhere better to be?
  26. Day Shift
    Shift looks and feels low-budget, from its slapdash effects to its sketched-in script, though that also feels like kind of the point: It might be bright daylight, but it's always midnight-movie time somewhere.
  27. Bodies Bodies Bodies
    Depending on your demographic, Bodies will probably either make you feel seen or utterly obsolete. But it's also just straight-up fun: a black-hearted comedy of manners meets contemporary social nightmare, written in blood and vape smoke.
  28. Bullet Train
    Leitch embarks on a series of adrenalized set pieces that defy logic and physics so breezily that its relentless, ridiculous violence plays more like a winsome ballet.
  29. Vengeance
    Novak, who spent years refining the squirrelly ticks of his self-regarding salesman Ryan on nine seasons of The Office, isn't a demonstrably different dude here. His callow-millennial act — and the navel-gazing vagaries of modern content culture — make fertile ground for satire, and many of the jokes here do find their soft targets. But it can also feel hollow and exhausting in main-character movie form.
  30. Where the Crawdads Sing
    Director Olivia Newman (First Match) bathes the story in so many broad, creaky tropes and odd tonal shifts that nothing ever feels real for a moment.
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