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. Amanda Knox
    What you end up with are portraits of individuals — people who are scared or angry or ambitious — all a part of a story that, from the start, ignored their humanity.
  2. Colossal
    Even if the script’s psychological reach ultimately falls short, Colossal is still a clever, comic, wildly surreal ride — right up until the last sucker-punch frame.
  3. Mulan
    Whether its stronger rating and more somber tone will translate to a home-bound family audience, only time and streaming revenues will tell; in the meantime, Mulan might be the closest thing to a true old-fashioned theater-going experience the end of this strange summer will see.
  4. Downsizing
    The result is a dadaist swirl of satire, pie-eyed whimsy, and speculative futurism — like "Gulliver’s Travels" through the wrong end of a telescope.
  5. Everything, Everything
    Director Stella Meghie sidesteps the pitfalls of your typical YA movie, delivering a gorgeous and sweet story that you can’t help but fall in love with.
  6. A Star Is Born
    It’s Cooper, in his directing debut, who ultimately has to carry the film from both sides.
  7. The Belko Experiment
    Belko is an appropriately disreputable, gleefully disturbing movie.
  8. The Party
    It’s basically a Murderer’s Row of indie pros who play off one another like they’ve been performing this particular toxic soiree on a West End stage for years.
  9. A Bad Moms Christmas
    What follows is another slapstick dose of hard-R ridiculosity with a soft-nougat center, but it also passes the Bechdel test maybe better than any other film this year, and its older generation of stars are too smart not to go to town on their stock roles.
  10. The Beguiled
    For all that lavish calibration, its beauty is a little remote, too — so beguiled by style that it forgets, or simply declines, to make us feel too much.
  11. Coco
    The vividness of the narrative never quite matches the riotous swirl of color and culture on screen — and neither do the songs, sadly, for how central they are to the story. Instead, Coco settles into something gentler but still irrefutably sweet: a movie that plays safe with the status quo, even as it breaks with it.
  12. Murder on the Orient Express
    Branagh executes his double duties with a gratifyingly light touch, tweaking the story’s more mothballed elements without burying it all in winky wham-bam modernity.
  13. Landline
    In sweetly calibrated moments — a downtown drug deal gone wrong; Falco alone under strobe lights, swaying ecstatically to Donna Summer — Landline finds the analog joy it’s reaching for.
  14. A Hidden Life
    A Hidden Life’s cinematographer is Jörg Widmer, Malick’s longtime camera operator. His work is handsome and a tad too dutiful. There are so many gorgeous shots of Franz scything through farmland, and I kept wishing someone had scythed a half-hour off the running time.
  15. Wind River
    For all its well-worn outlines, the narrative exerts its own fierce, clenched-jaw grip: a cautionary campfire tale that reminds us it’s not merely the end that matters, it’s the style and skill of the telling.
  16. Beach Rats
    Between "Moonlight" and the upcoming "Call Me By Your Name," some are calling this the golden age of gay coming-of-age cinema; Beach Rats’ slow pacing and dreamy verité style doesn’t feel made for quite that level of mainstream appeal. But still it gets under the skin, and stays there.
  17. Menashe
    The film (shot mostly in Yiddish) has an unpolished intimacy, peeling back the surface exoticism of a cloistered faith to reveal the poignantly ordinary struggle of being an imperfect person in the world.
  18. Thoroughbreds
    What begins as a gleefully nasty piece of work gradually picks up more nuance as it goes, adding dimensions to characters who could easily have coasted on the story’s arched-eyebrow burlesque.
  19. Whose Streets?
    It’s stronger as a collection of Ferguson voices and figures, such as rapper Tef Poe, who quiets a crowd in one scene by warning, “You ain’t gonna outshoot [the police].” In moments like those, Whose Streets? is a tragic yet essential portrait of a community under siege.
    • 78 Metascore
    • 83 Critic Score
    Long Strange Trip
    It’s all about finding the gems, and Long Strange Trip is a treasure chest.
  21. Dina
    Both are on the autism spectrum, and filmmakers Dan Sickles and Antonio Santini chronicle the pair’s love story in touching, captivating detail.
  22. Super Dark Times
    Super Dark Times perfectly nails the minute details of adolescence—a minefield of confusion about right and wrong that leads to all kinds of impulsive bad decisions.
  23. Final Portrait
    With its de-saturated grays and layered textures, Final Portrait itself is like a still portrait of Giacometti. You, as the viewer, are lucky just to get to spend time with these men during twenty or so days in their lives, privileged to be allowed inside Giacometti’s studio, watching the painting come together.
  24. Logan Lucky
    A fizzy, twisty Southern-fried heist flick that’s more enjoyable the less you try to dissect it.
  25. The Tango Lesson
    The Tango Lesson is about as far away from Al Pacino’s Scent of a Woman hotdogging as you can get; it really is about the scent of a woman, in all her fascinating peculiarity.
  26. First They Killed My Father
    It’s an artful, quietly affecting piece of filmmaking, more than worth the lessons learned.
  27. The Freedom to Marry
    If the 
story’s outcome is hardly a 
mystery — the landmark case was affirmed by a 5–4 margin in June 2015 — and the look of the film itself a little docu-drab, it’s also a shrewd and frequently moving testament to the true nature of change.
  28. War Machine
    It’s a smart, sharp spitball of a film, but it would’ve been better with a smaller, subtler hammer.
  29. The Disaster Artist
    It feels only appropriate that James Franco, an actor and director for whom weirdness is next to godliness, would be the one to tell his story.
  30. Annette
    Is Annette a farce, a metaphor, a noir meditation on fame? Only God and maybe the Maels know for sure. But like so many of the best and strangest moments that festivals like this bring, it's nearly impossible to witness it all and not walk away feeling altered (irrationally, emotionally, chemically) in some way.
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