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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    • 73 Metascore
    • 83 Critic Score
    The Incredible Shrinking Man
    The most unpretentious and poignant sci-fi film of them all.
    • 73 Metascore
    • 42 Reviewed by
      Ty Burr
    Cavalcade
    It’s rife with fey, unintentional camp like the scene in which a newlywed couple pledge eternal love on the deck of an ocean liner — only to move away and reveal a life preserver labeled Titanic. Cavalcade really won its Oscar because of Hollywood’s raging Anglophilia — the insecure sense that if a character says, ”Let’s all have a cup of tea!” the movie must be art.
  3. The Inspection
    Union's sour presence suggests the tougher film that could have been, bookending the movie with a double dose of viciousness; theirs is a relationship that won't be solved by a crisp uniform. If this is Bratton's calling card — and it should be — her scenes are the ones that suggest the real promise to come.
  4. Gonzo: The Life and Work of Dr. Hunter S. Thompson
    The movie also captures Thompson's tragedy: the haze of drugs and bad writing that consumed him for no less than his last 30 years.
  5. Kiss Kiss Bang Bang
    The deliriously enjoyable noir comedy-thriller Kiss Kiss, Bang Bang does nothing by halves and everything by doubles.
  6. Mr. & Mrs. Bridge
    Mr. & Mrs. Bridge is watchable but also stiff and remote.
  7. The Long Walk Home
    Both actresses are quite fine. The role of Odessa is somewhat underwritten, but Goldberg, playing her as a modest, God-fearing woman, acts with a deep-buried determination. If she’d been allowed to show some of her humor, the character might have soared. Spacek gives a beautifully modulated performance. 
  8. Bowfinger
    Disciplined script -- bitingly funny.
  9. The New World
    Many have tried, but none can match Malick's touch for shuffling a deck of elegiac images (water/sky/clouds/rain) and fanning out the hand to express what speech cannot; he's a master, too, of incorporating sound that is often wordless but never empty.
  10. The 40 Year Old Virgin
    Buoyantly clever and amusing.
  11. A Royal Affair
    The storytelling in A Royal Affair is traditional bordering on square. But the historical drama itself - about how an idealistic German doctor influenced a silly king, romanced a queen, and brought the Age of Enlightenment to 18th-century Denmark - is kind of amazing.
  12. Dark Waters
    These Waters never quite run as strong or as deep as they should.
  13. The Original Kings of Comedy
    The routines are charged, even between jokes, with anticipatory hilarity.
  14. Shattered Glass
    Presents Glass as a masterfully corrupt fabulist who convinced himself of the ultimate seductive lie, which is that there can't be anything wrong with telling people what they want to hear.
  15. Riding Alone for Thousands of Miles
    Ken Takakura, a great rain-creased oak of an actor, delivers a quietly massive performance.
  16. War of the Worlds
    An attack-of-the-aliens disaster film crafted with sinister technological grandeur -- a true popcorn apocalypse.
  17. Love & Basketball
    Lathan, charismatic and beautifully strong, holds the screen in every scene.
  18. Thirst
    A gaudy, daring, operatic, and bloody funny provocation of a melodrama from Park Chan-wook.
  19. Notes on a Scandal
    It's a poison bonbon tastier than just about anything else out there.
  20. The Dig
    In the larger sense of whatever a movie like this promises to be — that you will laugh (in a properly low-key English way) and cry (but not too outrageously), and feel the sudden, urgent need to drink milky tea and own a pair of dungarees — The Dig more than fulfills its destiny.
  21. Clueless
    There are funny bits in Amy Heckerling's high school sat-ire, but the characters are teen-movie zombies with no discernible personality apart from their trendoid obsessions.
  22. The Black Power Mixtape 1967-1975
    A tangy raw stew of history, even if it never begins to confront the contradictions that bedeviled black militancy.
  23. Amreeka
    Amreeka is strategically inviting and carefully mild even when making unsubtle points about Palestinian suffering and American insensitivity.
  24. CODA
    Jones — who trained intensively in voice work and American Sign Language for the role — has the gift of coming off like a genuine teenager, and more particularly a girl torn between her unique obligations to the people she's always loved and known and the bigger dreams she holds for herself.
    • 72 Metascore
    • 83 Critic Score
    Polyester
    Long before Mel Brooks, trash aesthete John Waters was making movies dedicated to the proposition that life stinks.
  26. Fire Island
    Tender teachable moments about racism or depression or midlife ennui ride alongside indie-pop needle drops and broad, breezy punchlines about tea-dance orgies and ketamine.
  27. 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.
  28. Stevie
    Gripping in its intimacy.
  29. A Song for Martin
    The movie, for all its sincerity, becomes clinical and repetitious, though its unsparing vision of the fragility of identity can give you a shudder.
  30. Road to Perdition
    There's much that's simplistically grand, worthy, and fine in Perdition. If I yearn for less measured filmmaking that cries out with more reckless despair, it's because I think hell on earth is a meaner, much more interesting, and far less tidy cinematic place than Mendes trusts his audience to handle.
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