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. Charlie Wilson's War
    It's all about a likable scoundrel who discovers what it means to act out of conviction. The film's underlying twist, though, is tartly ironic.
    • 67 Metascore
    • 91 Critic Score
    Dead Men Don't Wear Plaid
    The vintage footage is seamlessly integrated into the action, and the end result is both very funny and very true to the conventions of the detective movie.
  3. The Armstrong Lie
    It's a fascinating film that points the finger at a charismatic master of deception — as well as our willingness to buy his deceit.
  4. The Idea of You
    It’s clear those behind The Idea of You hold a genuine affection and care for the story, rather than the ironic eye that a book like this could so easily invite from a lesser team.
  5. The Family Fang
    Based on the best-selling 2011 novel, Fang is directed by Bateman with a sensitivity that the story’s sour whimsy doesn’t quite deserve.
  6. The Last Duel
    Duel is entirely, often sensationally watchable without ever quite justifying why it needs to remind us what the world has done to women for centuries.
    • 67 Metascore
    • 91 Critic Score
    Reflections in a Golden Eye
    John Huston’s adaptation of Carson McCullers’ gothic novella of sexual repression, set in a Southern Army post, gave Taylor one of her most unusual roles. It’s a restrained, sensual performance with moments of high, if warped, comedy: an example of what a director with an original vision could elicit from her.
  8. 2 Days in Paris
    Delpy wrote and directed this study of a relationship heading (it would seem) for the rocks. She stages it with a funny and diverting improv-y flow.
  9. Juliet, Naked
    Much like the book, the plot is essentially a wisp, and Byrne is far too luminous for her sad-sack role. But Juliet still feels winning; the small, sweet grace note on a familiar melody.
  10. Last Days
    There is a method to its madness, since the madness here is really Cobain's. Last Days mythologizes his suicide as a haunting act of fulfillment: the consummation of a life that had already ceased to be.
  11. A Decade Under the Influence
    This documentary about the triumph of the New Hollywood employs a treasure trove of interviews and clips to create a rich understanding of the many forces -- cultural undertows, really -- that flowed together to fill the void left by the dying studio system.
  12. Better Luck Tomorrow
    Lin works with a rhythmic observational flair that outweighs the movie's flaws. It's a long way from Long Duk Dong.
  13. The Business of Strangers
    None of this detracts, however, from the terrific piss-and-merlot performances of Channing and Stiles, or from the committed participation of Frederick Weller as a Neil LaBute-era businessman caught in the lounge between two she-devils disguised as businesswomen.
  14. Young Adam
    The clammy power of Young Adam lies as much in the frank, emotional nakedness the actors bring to their roles under Mackenzie's care as in the baroque hopelessness of the plot.
  15. Finding Neverland
    Depp portrays a fellow who is openly gentle to the core, and the actor just about wraps the movie around his lilting delivery and quiescent gaze.
  16. Haywire
    Haywire cavorts around the world - Barcelona, Dublin, upstate New York, New Mexico - with Bourne-again energy and timeline shuffles, making only cursory attempts at plot coherence
  17. XXY
    It's set at a beach house, but we see only gray skies, and though Efron has a wary and cutting intelligence (it matches that of the fine actor Ricardo Darin, who plays her father), the effect is tepid and damp.
  18. Fresh
    Cave has a smart, stylish way of storytelling that somehow makes a film built on bone saws and grotesqueries feel almost breezy.
  19. Marvin's Room
    The three are so full-bodied and so powerfully affecting that you're carried along on the pleasure of being in the presence of their extraordinary talent.
  20. Meduzot
    Marvelously inventive, often-ironic Israeli storyteller Etgar Keret and his life- and workmate, Shira Geffen, spin in Jellyfish a dreamy, arty, alluringly cockeyed tale involving three unrelated women in Tel Aviv.
  21. 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.
  22. Chappaquiddick
    What the movie doesn’t do, until it’s nearly over, is make any real case for why so much of America continued to put their faith in Kennedy long after the facts of the case were revealed.
  23. A Late Quartet
    The title refers not only to particular music by Beethoven but also to the fictional string quartet of Yaron Zilberman's fussily genteel, overplotted Manhattan tale in which interpersonal stresses build to a crescendo when one of the foursome becomes ill.
  24. The SpongeBob SquarePants Movie
    The best moments in his first movie outing are those that feel most TV-like, just another day in the eternally optimistic undersea society.
  25. Lynch
    As skewed, prismatic, and free of fluff as the man himself.
  26. An Affair of Love
    Fonteyne edges closer than most to capturing the mysterious rhythms of liaisons -- pornographique, romantique, and otherwise.
  27. The Flower of Evil
    The discreet stink of the bourgeoisie perfumes the wonderfully mordant, dry-eyed family saga, The Flower of Evil.
  28. Open Range
    There's nothing corny, however, about the climactic shoot-out, which Costner has staged superbly as an extended logistical mini-war that surges and rifle-cracks with bloody abandon through what feels like every building in town. Call it dances with guns.
  29. Better Watch Out
    Peckover’s sharp directing keeps things nicely nasty without ever going too far over the top — though it’s possible some gore-averse Scrooges may disagree. If you want to gift yourself a holiday film that decks the halls with blood, this is one to put under the tree.
  30. The King of Staten Island
    The script, which Davidson co-wrote, is rooted in his own childhood loss; his father, too, was a fireman, killed on 9/11. In its best moments the movie resonates with those realities, though it also comes packaged, like so many Apatow films, in a kind of incurable ramble — some two-plus hours dotted with pleasingly random cameos (Pamela Adlon, Steve Buscemi) and odd tonal shifts.
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