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. Fight Club
    If, as Fincher has said, this movie is supposed to be funny, then the joke's on us.
  2. Price Check
    Posey, her attention divided up into slivers, is funny as hell, but she's also terrifying in her evocation of a kind of moment-to-moment PowerPoint existence.
  3. This Is It
    This Is It offers a raw and endearing sketch of a genius at work.
  4. Somewhere
    The movie's redemptive structure is a bit routine, yet I watched nearly every scene with a sense of discovery. Coppola is a true filmmaker, and in Somewhere she pierces the Hollywood bubble from the inside.
  5. Frequency
    May be the first time travel fantasy to move grown fellows with 401(k) accounts to tears.
  6. Home Movie
    Smith profiles five extraordinary American homes, and because the owners seem fully aware of the uses and abuses of fame, it's a pleasure to enjoy their eccentricities.
  7. Birth Story: Ina May Gaskin and The Farm Midwives
    Highlights Gaskin's down-home gumption as an advocate for the glory of natural childbirth.
  8. Lost Girls
    It helps immensely that the film has an actress like Amy Ryan (Birdman, Beautiful Boy) to play Mari Gilbert, whose years-long battle to get anyone at all — the press, the police, the people of New York — to care about her daughter Shannan forms the emotional core of the story.
  9. Oxygen
    A film literally made from thin air, the French thriller Oxygen (on Netflix starting Friday) is a neat little sci-fi nightmare; a cool-toned exercise in claustrophobia that nearly pulls off the innate improbabilities of its high-concept nonsense.
  10. Barbershop: The Next Cut
    Even when it falls short of its aim to get every last Beyoncé joke and Big Idea onscreen, the movie still offers what any barbershop worth its repeat customers provides: An hour or two of good company, and the feeling that you’re leaving a little sharper than when you came in.
  11. The Book of Life
    Overflowing with hyperactive charm and a spectacular sea of colors, it showcases some of the most breathtaking animation we've seen this decade.
  12. The Future
    As she did in her striking 2005 debut, "Me and You and Everyone We Know," July creates a fluid cinematic universe.
  13. Cinderella
    The fizzy cocktail combination of Blanchett’s cartoonish hauteur and Branagh’s visual razzle-dazzle and confectionary sets (courtesy of the legendary Dante Ferretti) manages to take a tale as wheezy as Cinderella and make it feel almost magical again.
  14. Alice
    Watchable and sometimes funny, but ever so thin.
  15. Once in a Lifetime: The Extraordinary Story of the New York Cosmos
    It's a stylish scramble of evocative footage, groovy music, and crazy-candid reminiscences from key players still proud to score.
  16. Ruby Sparks
    Ruby Sparks is a romantic comedy that takes off from a premise so fanciful it needs every bit of the freshness that Dano brings it.
  17. Rock School
    I'd be lying if I didn't admit that Rock School, Don Argott's amusing and spirited documentary, would seem a heck of a lot niftier if its fire hadn't already been stolen by "School of Rock."
    • 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.
  19. Demonlover
    Assayas can't resist turning Demonlover into an overcalculatedly irrational rabbit-hole-to-the-dark-side thriller. The movie morphs into a ''dream,'' all right, but I confess that all I wanted to do was wake up from it and return to the slithery intrigue of corporate depravity.
    • 67 Metascore
    • 83 Critic Score
    A Simple Favor
    The film is full of panache, from its sexy French score to its glistening gin martinis, and it weaponizes style, using it to keep audiences off balance as the mystery unfolds.
  21. Time to Leave
    Moreau's few ripe scenes are choice, and she spices up the joint with her gravelly voice of je ne regrette rien.
  22. I Saw the Devil
    Somewhere in all the blood (sickening realism is a selling point), a question is posed: When does the one fighting a monster become a monster himself?
  23. The Eclipse
    What holds The Eclipse together is Hinds' sorrowful and moving performance as a man haunted in more ways than one.
  24. Kill List
    It's all very sub-Tarantino showy and empty - at least, until the head-scratching climax, which tries to be "Eyes Wide Shut," "The Wicker Man," and "The Twilight Zone" all at once, but only makes you wish that you were watching one of them instead.
  25. Tupac: Resurrection
    It's no insult to Tupac to say that he was gangsta rap's greatest matinee idol, or that he lived the part only too well.
  26. Two Girls and a Guy
    The beauty of Two Girls and a Guy is that it presents us with a hero so craven, so indefensible in his duplicity, that his twin victims leapfrog past vengeance into an almost physical state of curiosity.
  27. Looking for Eric
    The British director Ken Loach can be a master of working-class realism, but not in this cranky, rudderless shambles.
  28. Kung Fu Panda 3
    Just complicated enough to reward steady viewers and just simple enough for parent escorts to enjoy without much prior knowledge.
  29. World Trade Center
    A scrupulous and honorable film. Yet it never comes close to being a revelatory one; it sentimentalizes more than it haunts.
  30. Jimi: All Is by My Side
    The film's lack of such signature Hendrix tunes as ''Purple Haze'' may put off some — the filmmakers couldn't get the rights — but I'd argue that this obstacle forced Ridley to zig where most biopics zag. Which, when you think about it, is fitting for the story of a lefty who played his guitar upside down.
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