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. Green Book
    In a world that seems to get uglier every day, this movie’s gentle heart and mere humanity feel like a salve.
  2. Monrovia, Indiana
    Few filmmakers can turn a mundane town council meeting about a library bench into a meditation on patriotism and civic responsibility the way Wiseman can. Let’s hope his camera continues to roll for years to come.
  3. A Private War
    By the time the narrative comes to Colvin’s greatest get — she was essentially the first Western journalist to get inside Homs and refute Syrian President Bashar al-Assad’s bold-faced lie that he wasn’t bombing his own people into oblivion — the price of that sacrifice, and the power of her story, feels finally, fully real. Whatever her private battles, War works hard to be the public reckoning her work deserves.
  4. Shampoo
    There’s a self-awareness to Shampoo that gives the movie a cleansing sadness and, oddly, makes Beatty an affectingly amoral roue.
  5. A Quiet Place Part II
    Once again, Krasinski manages to render relatively straightforward tasks — nursing a baby, tuning a radio, walking through a train car — harrowing; dialogue, by necessity, is rarely wasted, and his actors feel far more sympathetically human and real than most meat-puppet horror chum.
  6. Cold Pursuit
    It knows exactly what kind of movie it is, but that doesn’t stand in the way of it goosing its bloodbath set pieces with irreverent, off-kilter gallows humor.
  7. The Biggest Little Farm
    As the story unfolds over nearly a decade, Biggest becomes something even more impactful: a thoughtful and often profoundly moving portrait of the remarkable work involved in producing mindful food — and an eloquent reminder that so much of what we take for granted on our plates is, in its own everyday way, a miracle.
  8. Scary Stories to Tell in the Dark
    Blessed with some firm hands on the terror tiller and a winning cast, Scary Stories to Tell in the Dark is a handsome, and deliciously horrible, horror movie.
  9. Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)
    Does the movie’s pop-feminist message need to be as consistently, cartoonishly violent as it is? Almost definitely not. But in a world gone mad, the catharsis of Prey’s twisted sisterhood doesn’t just read as pandemonium for its own sake; it’s actually pretty damn sweet.
  10. Vice
    The shrewd, relentless winkiness of McKay’s filmmaking style may have worked better, though, for breaking down subprime mortgages in The Big Short than it does chronicling a deadly misbegotten war. What remains then is the cipher at the center of Vice: the Man Who Wasn’t There, and probably never will be.
  11. The Clovehitch Killer
    Unlike so many recent horror movies, The Clovehitch Killer is patient with its thrills, almost excruciatingly so.
  12. Mother
    The best reason to see Mother is the deliciously off-kilter performance of Debbie Reynolds, who speaks in pure honey-sweet tones yet keeps planting tiny seeds of disapproval, using her maternal ”concern” as an invisible form of warfare. You never quite catch her doing it; the character doesn’t even know she’s doing it. She just is who she is, and by the end you realize that that’s her glory.
  13. Isn't It Romantic
    Isn’t It Romantic pulls off a sweet sleight-of-hand trick as a rom-com-within-a-rom-com, mocking all of the classic rom-com tropes while still letting us indulge in them. The movie is having its gourmet cupcake and eating it too.
  14. The Frighteners
    The Frighteners is also that rare horror film that actually gets better as it proceeds; this scare machine has a heart and a brain.
  15. Dave
    For all its modest charm, Dave is a true throwback to the Capra days, a political comedy just cockeyed enough to triumph over cynicism.
  16. The Mustang
    First-time feature filmmaker Laure de Clermont-Tonnerre brings a gorgeous, wide-open sparseness to her visual storytelling (it makes sense that Robert Redford, the original Sundance Kid, is listed as an executive producer), but it’s largely Schoenaerts’ movie to carry.
  17. Where's My Roy Cohn?
    Donald Trump was less kind, essentially abandoning him after his then still-secret diagnosis. Tyrnauer smartly doesn’t overplay the symbolism of their relationship, or work too hard to connect the dots; it’s all there to take or leave in the film’s shrewd, illuminating exploration of a man whose influence, for better or worse, may have far outdone even his wildest dreams.
    • 84 Metascore
    • 83 Critic Score
    Kagemusha
    An often breathtaking but slightly bloodless samurai epic.
  19. Hail Satan?
    Why end a rallying cry with a question mark? The devil is in the details, or at least in the punctuation of Hail Satan?, a movie that often seems to teeter on the line between doc- and mockumentary — a sincere examination of a social and political movement delivered with just a soupçon of Christopher Guest.
  20. Fyre
    The movie is more than a bonfire of the inanities; it’s a shrewd indictment of a dream gone spectacularly, criminally wrong.
  21. The Devil All the Time
    With a cast so large and so consistently good, it's nearly impossible to single out more than a few players, though it's maybe most gratifying to see Holland so far from Peter Parker mode; his performance is delicately underplayed, which is not a claim Pattinson can probably make with a straight face.
  22. Knives Out
    A silly, stabby, supremely clever whodunnit that only really suffers from having too little room for each of its talented players to fully register in the film’s limited run time.
  23. Someone Great
    If shrewd one-liners and small moments ultimately override the episodic narrative, Someone‘s takeaway — that love is a messy-splendored thing, and “happily ever after” is just a story that hasn’t finished yet — feels refreshing modern and true.
  24. Blinded by the Light
    Love, faith, Springsteen; that and a Sony Walkman are all it takes to surrender to the pure, ingenuous joy of Blinded by the Light, a Technicolor ode to the power of music so deeply tender and heartfelt that it disarms even the most misanthropic critic’s instincts.
  25. The Farewell
    Wang’s story outline shares the familiar contours of other immigrant tales: the Babel tower of half-spoken languages; the ties that bind across oceans, and the physical and cultural gaps that can still break them. But Farewell also has the freshness of her own distinct voice, a dry humor and low-key melancholy that infuses even the most quotidian scenes.
  26. American Factory
    The movie, which bowed to uniformly rave reviews at Sundance earlier this year, is also — it will probably be noted ad nauseum — the first film collaboration from Barack and Michelle Obama’s new production company Higher Ground. But the heart and soul of American Factory, like all American factories, is never really politics of course; it’s people.
  27. One Child Nation
    If One Child sometimes seems to raise more questions than it can answer, and more pain than it has room to explore, the movie offers an urgent and affecting reminder of what happens when the rule of law subsumes not just free will but the very act of existing — and the humanity that still, against all odds, endures.
    • 80 Metascore
    • 83 Critic Score
    Prince of the City
    What remains is nearly three hours of disorientation and paranoia, accented by Method-y monologue outbursts that quickly disappear into a vacuum of overwhelming loneliness.
    • 70 Metascore
    • 83 Critic Score
    Catch-22
    The director of Who’s Afraid of Virginia Woolf? and The Graduate is more at home with minute personal tensions than with the epic hysteria this project required, so file the film under botched masterpieces.
  30. Europa Europa
    Europa, Europa isn’t the wrenching emotional saga it might have been.
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