Entertainment Weekly's Scores

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For 7,798 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 7798
  2. Mixed: 2,080 out of 7798
  3. Negative: 760 out of 7798
7798 movie reviews
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  1. Exotica
    Like Christina’s dance, the movie is a gorgeous tease, an artful promise of something that never quite arrives.
  2. Lord of the Flies
    As a novel, Lord of the Flies never was much more than a Brat Pack Heart of Darkness. It’s doubtful a screen version could be any better than this one.
    • 67 Metascore
    • 83 Critic Score
    The Time Machine
    Wells purists may balk, and Pal’s then state-of-the-art effects do look cheesy by today’s Industrial Light & Magic standards, but The Time Machine retains an appealing Victorian charm. Taylor, the Mel Gibson of the ’60s, is a pleasure to watch.
  4. Richard Jewell
    As a filmmaker, Eastwood may not be famed for subtlety, but he does have a way with economy. And he delivers Jewell’s story with almost no unnecessary flourishes; a taut, streamlined drama leavened by crucial doses of empathy.
  5. The Shaggy D.A.
    The only thing that could possibly be any better is a field-goal-kicking mule.
  6. Bombshell
    Bombshell belongs to its three main female stars. It’s their fierce, finely shaded performances that transcend the film’s drab visual style and drier episodic moments — not just by speaking truth to power, but by confronting the audience’s own ideas of who the right to do that belongs to.
    • 55 Metascore
    • 83 Critic Score
    The Sandlot
    The Sandlot lays down life’s little lessons with the feathery touch of a sacrifice bunt. During the ball-retreiving scenes, as the gang learns to work as a team off the field, the movie never loses its quick pace or its sense of fun. Old baseball wisdom: The best teams win with strong fundamentals. So do the best movies.
    • 63 Metascore
    • 83 Critic Score
    Until the End of the World
    Wenders’ weird and wired view of the near future tempts replay as often as the sensational soundtrack (U2, Talking Heads, Patti Smith).
    • 44 Metascore
    • 83 Critic Score
    The Prophecy
    Mixing one of B horror’s lamest clichés (the failed priest-turned-cop character) with an innovative plot device (a long-missing chapter from the Bible), The Prophecy is an old-fashioned thriller with art-house pretensions.
  10. Emma.
    The freshness is found, primarily, in the energy of her storytelling and her vital young cast.
  11. After Parkland
    What feels important in Parkland is less about pushing any kind of political agenda or viewpoint than about simply listening, and bearing witness.
  12. Promising Young Woman
    As satire, Woman‘s first two acts are fun but broad: a winky, wildly stylized slice of girl-powered revenge porn. And Mulligan, who’s always given smart, delicately shaded performances in movies like Far from the Madding Crowd and An Education (she was great in 2018’s underseen Wildlife) is an entirely different animal here: furious, damaged, ferociously funny.
  13. The Matrix Resurrections
    Resurrections does eclipse its predecessors for full-on, kick-you-in-the-heart romance: Reeves and Moss, comfortable with silences, lean into an adult intimacy, so rare in blockbusters, that's more thrilling than any roof jump (though those are pretty terrific too). Their motorbiking through an exploding city, one of them clutching the other, could be the most defiantly sexy scene of a young year.
  14. Once Were Warriors
    You can feel director Lee Tamahori doing his best to get a rise out of you. Yet his work has fire and substance, too.
  15. Two of Us
    Meneghetti, a first-time but remarkably assured filmmaker, gives Two a dreamlike realism, letting the score go ragged in its tensest moments and swooping in artfully on aching closeups and empty spaces.
  16. The Many Saints of Newark
    Saints can't be what Sopranos was — without the time or the ones who've been lost to tell it, fuggedaboutit. But for a hundred-something minutes, it feels close enough to coming home again.
  17. Raya and the Last Dragon
    If Raya's outlines and endpoint are strictly fairy-tale familiar (evil is vanquished, good triumphs, reconstituted dragons romp), the movie feels fresh not just for the mere fact of its female-forward and predominately Asian cast, but for the breeziness with which it bears the weight of Disney history.
  18. Mank
    The story then becomes less a forensic accounting of a masterpiece than a bittersweet ode to a certain slice of old Hollywood: part love letter, part cautionary tale, and still somehow a mystery.
  19. Shirley
    The plot, admittedly, is scattered; this is par for the course for Decker, but in a movie with more conventional bones, the shagginess sticks out. Shirley gorgeously invokes its subject’s style, however, via a disarmingly off-kilter score; handheld camerawork that gets intimate with characters’ psyches; and, most strikingly, a series of unforgettable images that intensify this study of female awakening and decay.
  20. Palm Springs
    At its core, the movie is too in love with love — or at least its messy, time-jumping ideal of it — for that kind of true discomfort comedy. That makes it less brave, maybe, but in this moment we're living in, who could begrudge a happy ending?
  21. The Nest
    Durkin captures it all with a sort of menacing restraint, building a deeply disquieting mood from long, almost voyeuristic shots and loaded gazes.
  22. Kajillionaire
    Jenkins and a nearly unrecognizable Winger make the most of their small monsters, peeling back layers of callousness and calculation to hint at the messier motivations underneath.
  23. Zola
    If Paige and Keogh weren’t both such indelible, fiercely charismatic characters, the whole thing could easily fall apart. But their presence, and Bravo’s singular vision, give Zola a sort of electric buzz: the thrill of watching something stranger than fiction, and somehow better than true.
  24. The Forty-Year-Old Version
    A ramshackle, winningly raw coming-of-middle-age shot in vivid black and white but told in emotional Technicolor.
  25. King Richard
    Green (who made the small, affecting 2018 indie Monsters and Men and this year's little-seen Joe Bell) hasn't reinvented the underdog wheel, but he has made something fresh out of the familiar — a smart reminder that when a story is told well it can hit all the beats we know, and still somehow surprise us.
  26. News of the World
    The movie offers few surprises and even less alacrity; and yet there's a cumulative weight to World that feels, if hardly new, still worth sitting through.
  27. Foxes
    It’s really one of the very first, very early Gen-X movies (the true first one, to me, is 1978’s terrific Over the Edge), and I was struck all over again by the freshness of what it captured: these four prematurely jaded adolescent girls, led by Jodie Foster as the sensible one, living like baby adults, cut off from their parents and the past, bonded only by attitude, consumerism, and the pop-culture decadence they share.
  28. The Father
    The skillfulness of the telling, paradoxically, can make The Father feel at times almost too painful to sit through; as the story shifts elliptically in and out of time, Anthony's losses become our own.
  29. C'mon C'mon
    Another rich creation in Mills' bittersweet, gently profound collisions of art and life.
  30. The Souvenir: Part II
    Nothing in Souvenir Part II is obvious; one could argue it's even obtuse to the point of excluding most casual moviegoers. But surrendering to Hogg's slow alchemy still feels like a rare treat: a beguilingly meta portrait of the artist as a young woman learning to find herself not just in the mirror of others, but in her own hand behind the camera.
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