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. The Menu
    The movie loses some momentum in the final third, and tends to over-egg its caricatures of all these platinum-card fools and clueless masters of the universe. But its appetite for destruction is also too much fun in the end to refuse: a giddy little amuse bouche for the apocalypse to come.
  2. Triangle of Sadness
    Triangle hits more marks than it misses, and in a somber, often underwhelming season of would-be arthouse hits, the movie is a bona-fide trip: not the funhouse mirror we need for these ridiculous times, maybe, but one we deserve.
  3. Catherine Called Birdy
    A sly fairytale about a medieval tween that manages to be both cheeky and modern without losing its heart.
  4. M3GAN
    The tart in-jokes and absurdity of the script, its winky acknowledgment of all the tropes gone before it, feels like a delirious cap on recent genre hits like Barbarian and Malignant.
  5. La Cage aux Folles
    Like many of the best farces, from The Importance of Being Earnest to Cactus Flower, it draws its humor from characters pretending to be something they’re not.
  6. Glass Onion: A Knives Out Mystery
    Glass Onion doesn't feel like a movie that's meant, really, to be peeled. It's here strictly to dazzle you with money and murder and famous-people pandemonium, then sharpen its knives for the next installment.
  7. Spoiler Alert
    Anchored by the ridiculously charming Aldridge's chemistry with Parsons (distant but effective in comparison), Spoiler Alert defies expectations throughout, refusing to adhere to one genre or storytelling convention.
    • 73 Metascore
    • 83 Critic Score
    Slam
    Directed and cowritten by Marc Levin with an intentionally untidy, restless, handheld style that owes a lot to his background as a documentary filmmaker, Slam effectively gets at the deadly, no-way-out despair that can squeeze a man as he realizes he’s become a numbered nobody in the huge, imperfect justice system. Levin’s best idea, though, is to counterbalance that hopelessness with freeing blasts of verse, performed with such drama and passion that audiences may want to break into applause.
  9. Set It Off
    Enough does work, and well, to make Set It Off a valuable model for a new kind of girl-pack story: one that’s not just for girls.
  10. Ant-Man and the Wasp: Quantumania
    At just over 120 minutes, though — a blink in Marvel time — this Ant-Man is clever enough to be fun, and wise enough not overstay its welcome. Who better understands the benefits, after all, of keeping it small?
  11. 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.
    • 70 Metascore
    • 83 Critic Score
    The Swan Princess
    With its modern sensibility and a visual look beautifully steeped in tradition, The Swan Princess takes a well-deserved place in the circle of animation.
  13. One Fine Day
    Clooney proves himself to be a true movie star and romantic leading man. His charm, his energy, even his ease with children (one of any adult actor’s most terrifying challenges) carry One Fine Day into irresistibility.
  14. 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.
    • 45 Metascore
    • 83 Critic Score
    My Summer Story
    Imagine Garrison Keillor narrating a series of Norman Rockwell paintings and you’ll have a very good idea of what My Summer Story is all about. Nostalgic and gently humorous, this sequel to 1983’s A Christmas Story continues the adventures of Ralph Parker in the prepubescent universe of bullies, parents, best friends, and no girls.
  16. The Good Nurse
    It feels like a faint insult to say that The Good Nurse could be a premium-cable product from long ago, one of those lightly prestige-y Sunday-night movies Showtime or HBO used to make. But it's also one crafted with sturdy, consummate skill, burnished by two Oscar winners who don't stint on their performances just because most people will end up seeing Nurse on a small screen.
  17. Wendell & Wild
    You'll forgive the movie its cluttered shagginess because its universe is so strange — even an icy puddle is rendered exquisitely.
  18. 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.
  19. Louis Armstrong's Black & Blues
    A global celebrity during America's earliest conversations about civil rights, Armstrong preferred to keep his dissatisfactions to himself, becoming a symbol of change rather than a spokesperson of it. That tension comes to vivid life in Jenkins's worthy account, sure to be appreciated by those who come in on solid footing
  20. Lady Chatterley's Lover
    An unabashedly heady romance, rich in pretty costumes — when they're wearing them — and lush, lusty atmosphere.
  21. Snow White
    That balance of giving the audience the story they know so well but with just the right amount of newness and unpredictability is the true magic of Webb's Snow White.
  22. Missing
    Directors Nick Johnson and Will Merrick sometimes strain the credulity of what shooting in-screen can do — June's laptop camera does a lot of heavy lifting — but the movie rarely feels forced or claustrophobic; it's just a whizzing, cannily of-the-moment spin on a familiar genre, reupped for the Genius Bar age.
  23. Wild Bill
    Wild Bill succeeds as a character study of a man whose idiosyncratic code of justice eventually catches up with him. Bridges’ performance is a masterstroke of squinty-eyed bitterness, and he gets colorful support from Ellen Barkin (as kitten with a whip Calamity Jane) and John Hurt (as a dissipated British dandy).
  24. Sr.
    There's something lovely and quietly profound about where the film finds itself in the end: a generational love story that transcends old wounds and misadventures, and even, in its tender final moments, death itself.
    • 80 Metascore
    • 83 Critic Score
    The Train
    One of director John Frankenheimer’s best nail-biters of the ’60s, a gritty, realistic war flick in which Burt Lancaster and a host of terrific French character actors try to keep an obsessed Nazi colonel (Paul Scofield) from shipping a bunch of plundered masterpieces to Germany.
  26. The Quiet Girl
    With its English subtitles and small-scale epiphanies, Girl is the kind of quiet film that could easily get lost in a noisy season; lean in anyway, and listen.
  27. Sharper
    It's easy to lose count of the double and triple crosses in Sharper, a silly and unabashedly camp thriller that is, frankly, exactly the kind of sleek, shenanigan-y frolic that bleak midwinter calls for.
    • 63 Metascore
    • 83 Critic Score
    They All Laughed
    They All Laughed, Peter Bogdanovich’s quiet romantic comedy about two Manhattan detectives (Gazzara, Ritter) following, and falling for, their subjects (Hepburn, Stratten), was unfairly overshadowed when Stratten, in 1980 (after filming had wrapped), was murdered by her estranged husband.
  29. Adult Swim Yule Log
    You'll not find a more bodacious bonanza of sheer WTFery than the last twenty minutes, which crosscut realities and timelines while doing truly disgusting things with pimento cheese.
  30. Quo Vadis
    Golden era MGM takes on Christ! The lavish story of Roman-Christian conflict was universally loved, thanks to star turns by Robert Taylor, Deborah Kerr, and supporting players Peter Ustinov and Leo Genn.
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