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 2.2 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. Spencer
    For all of Larraín's artistry, Spencer would crumble in the hands of the wrong actress, and Stewart gives one of the best performances of her career so far as this highly subjective version of Diana.
  2. 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.
  3. Last Night in Soho
    Soho is one hell of a half of a movie: a wildly styled neon reverie whose spooky bedazzlement only crashes to earth when it succumbs to bog-standard horror in the final act.
  4. Eternals
    The looping flashback structure and relaxed, intimate pacing has the odd effect of making the fate of the free world feel a lot less urgent than it probably should; the movie frequently comes off less like a standard MCU tentpole than a metaphysical family drama whose black sheep just happens to be Thanos.
  5. The Electrical Life of Louis Wain
    The film can't seem to stop piling on idiosyncrasies, a kind of willful kookery that mixes uneasily with the more serious elements of personal tragedy and mental illness that run through it.
  6. Ghostbusters: Afterlife
    There are some jokes here — Paul Rudd brings a little lightness to the proceedings as the kids' science teacher, Mr. Grooberson — but it's hard to escape the overall sensation of, well, a corpse being exhumed.
  7. Lamb
    The movie's stark Nordic mood and obscure mystery are as coolly immersive as nearly anything on screen this year — and in the hammy world of supernatural horror, that ambiguity alone feels like a small, spooky gift.
  8. 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.
  9. Diana: The Musical
    If you want royal intrigue and insight, do yourself a favor and revisit Harry and Meghan's Oprah interview because Diana: The Musical is rather like the royal family itself these days, expensive and pointless.
  10. Red Rocket
    Rocket is leisurely episodic and at over two hours, almost certainly longer than it needs to be, but the director's singular gift for street casting — beyond Rex, hardly anyone here has acted professionally before — and deeply embedded sense of mood works its own kind of unhurried alchemy.
  11. Venom: Let There Be Carnage
    If we're all disposable space chum in this franchise game anyway, who needs a coherent narrative and character arcs? Just bite the head off every chicken, and lean in.
  12. No Time to Die
    The levity of the first half is soon sorely missed, and the run length alone — the movie clocks in at just under 165 minutes — dilutes the intended emotional resonance of the final scenes; Never Say Time might have been a truer title.
  13. Titane
    In an era when nearly everything that can be done on film already has been, Titane forges something sensational from nerve and pure metal, and makes it new.
  14. 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.
  15. The Mad Women's Ball
    Laurent, an actress known Stateside for movies like Inglorious Basterds and Beginners, has adapted Ball from the bestselling novel by Victoria Mas, whose facts are rooted in actual history. She shares Mas' justifiable outrage at the casual inhumanity of it all — the brutal experiments and biased theories, the rampant physical and emotional abuse — and also her sense for melodrama.
  16. Encounter
    Riz Ahmed takes Encounter a long way. But he can't single-handedly carry a film that never quite figures out what it wants to be — stark sci-fi paranoia? Psychological family drama? Desert road-trip apocalypse?
  17. The Guilty
    Guilty, for all its wild-eyed excess, does find some blunt-force propulsion for a while, particularly if you're coming to it new. But the movie seems to mistake the taut minimalism of the original for something that needs to be goosed and adrenalized, a thriller on constant defibrillator.
  18. The Eyes of Tammy Faye
    Comes drawn in bold, broad strokes — a fond treatment of a flawed but fascinating American icon whose revelations feel mostly cosmetic in the end.
  19. Kate
    Subtle it's not: Kate is red-meat storytelling, all broad outlines and crunched bones. But there's a visual wit and visceral energy to it that other recent efforts (the pop-feminist comic-book gloss Gunpowder Milkshake, also on Netflix, and Amazon Prime's spectacularly silly Jolt, featuring a rampaging Kate Beckinsale) struggle to find.
  20. The Power of the Dog
    Unless you're one of the few who's read Thomas Savage's 1967 book of the same name, on which the script is based, there's rarely a moment that doesn't feel racked with the queasy, thrilling promise of sudden violence or epiphany.
  21. 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.
  22. Belfast
    Branagh's genuine affection and nostalgia for his subject suffuse the movie; if only the misty romanticism of his story could match it.
  23. C'mon C'mon
    Another rich creation in Mills' bittersweet, gently profound collisions of art and life.
  24. The French Dispatch
    Dispatch often feels like the filmmaker in concentrate form, both his best and worst instincts on extravagant display.
  25. Dune: Part One
    The sheer awesomeness of Villeneuve's execution — there might not be another film this year, or ever, that turns one character asking another for a glass of water into a kind of walloping psychedelic performance art — often obscures the fact that the plot is mostly prologue: a sprawling origin story with no fixed beginning or end.
  26. Together
    Even within the stagy confines of the movie's Scenes From a Marriage setup, Horgan and McAvoy manage to tease out the more subtle and enduring bits in their characters' unravelings.
  27. He's All That
    It might be just as well that Padgett is not given a real emotional arc, nor anything resembling an internal life. Even when little is asked of her, Rae's acting is not up to the challenge.
  28. The Night House
    Though the bag of tricks that Bruckner (V/H/S, The Ritual) digs through — the jump scares and shadow figures, the eerily suspended rules of gravity and physics — are familiar, he uses them to build a kind of clanging, feverish atmosphere. And British actress Hall (The Gift, Godzilla vs. Kong), tasked with carrying nearly every scene, grounds her performance in more than meat-puppet panic; her unraveling springs from genuine, furious grief.
  29. The Protégé
    Martin Campbell's cat-and-mouse assassin thriller is self-aware enough as a kinetic genre entry. As it spills more blood and more convoluted backstory, however, it reveals an empty center.
  30. Candyman
    Who can take a reboot, sprinkle it with something new, cover it with blood and bumblebees and a pointed social commentary or two? Candyman can, at least for a little while, even if the movie doesn't really find its more-than-body-horror groove in the end.
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