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. The Dirt
    It’s cartoonish, fast-paced, a bit cheesy, and ridiculously dumb fun.
  2. Us
    Fans of Get Out, Peele’s brilliant, mind-bending 2017 debut, may feel vaguely let down that his follow-up is, for all of its sly humor and high style, a fairly straightforward genre piece, and that its bigger ideas and metaphors don’t feel quite fully baked.
  3. The Aftermath
    Sadly, director James Kent’s sappy and utterly unconvincing new film The Aftermath shows that even the most foolproof ideas wither in the face of turgid, overripe melodrama.
  4. The Highwaymen
    The Highwaymen is a leisurely ride with a pair of actors who know how to do a lot by not doing too much. It won’t reinvent cinema the way that "Bonnie and Clyde" once did. But it’s a ride worth taking nonetheless.
  5. Yardie
    Yardie is a sprawling drug-world saga, but whatever narrative flaws it has are helped out by an infectious selection of dub-heavy reggae tracks and an authentically gritty sense of period and place.
  6. Five Feet Apart
    It’s just another three-hankie teen weepie, albeit one with the saving grace of another excellent Haley Lu Richardson performance that gooses the film just past serviceable into the realm of slightly better than average.
  7. Apollo 11
    The NASA mission at the heart of the must-see documentary Apollo 11 reminds you what it feels to be truly awestruck.
  8. Triple Frontier
    There may be no honor among thieves, but Triple Frontier certainly makes watching them pretty entertaining.
  9. Captain Marvel
    Captain Marvel only figures itself out toward the end, when a couple twists I won’t spoil sharpen the spanning saga into a motley-crew errand of mercy.
  10. Gloria Bell
    Moore — vulnerable but undauntable — lives every moment in her skin, fantastic to the last glorious frame.
  11. The Wedding Guest
    The phrase “low-key thriller” might be an oxymoron, but it also feels like the best description of The Wedding Guest.
  12. Greta
    A loony psychodrama so steeped in winking, twinkly-toed camp that it almost (almost!) escapes the leaden tropes of the genre.
  13. The Hole in the Ground
    The Hole in the Ground never seeks to differentiate itself from the established horror movie aesthetic: we get creepy jangling lullaby music, a decrepitly old hooded women mumbling to herself ominously, bare feet on creaking wooden floors, broken mirrors.
  14. The Mustang
    First-time feature filmmaker Laure de Clermont-Tonnerre brings a gorgeous, wide-open sparseness to her visual storytelling (it makes sense that Robert Redford, the original Sundance Kid, is listed as an executive producer), but it’s largely Schoenaerts’ movie to carry.
  15. Transit
    Petzold walks the tricky tightrope of being both timeless and timely, the performances (especially those of Rogowski and Beer) are chillingly good, and the ambiguous final shot is damn near perfect. In Transit, the past is prologue… and it’s devastating.
  16. Climax
    Is it possible to be an enfant terrible when you’re 55? Unrepentant French provocateur Gaspar Noé pushes that question (and your buttons) to the breaking point with his latest transgressive import, Climax.
  17. Paddleton
    Thanks to two pitch-perfect performances, Paddleton is bittersweet and poignant beyond words.
  18. Ruben Brandt, Collector
    It’s a triumph of style over substance. But what style!
  19. Isn't It Romantic
    Isn’t It Romantic pulls off a sweet sleight-of-hand trick as a rom-com-within-a-rom-com, mocking all of the classic rom-com tropes while still letting us indulge in them. The movie is having its gourmet cupcake and eating it too.
  20. Happy Death Day 2U
    Look, no one is expecting much from a movie called Happy Death Day 2U. Certainly not air-tight logic. But this chapter feels phoned in. And unless you’re really, really desperate for a new horror movie to check out, you might want to think twice about accepting the charges.
  21. Everybody Knows
    If there’s one nit to pick with Everybody Knows, it’s that Farhadi’s films, as excellent as they are, are starting to feel a bit same-y. He’s plying the same family-in-crisis formula he’s worked before. That formula still works like gangbusters, but it’s becoming a formula nonetheless: Happiness and community curdle into paranoia and suspicion.
  22. High Flying Bird
    Written by Oscar-winning Moonlight screenwriter Tarell Alvin McCraney, the new film feels stagey, confusing, and didactically obvious. You can tell that it was written by a playwright (which McCraney was and is).
  23. Fighting with My Family
    Most of Fighting’s narrative moves are as choreographed as any undercard match — and the outcome as clearly forecast — but the tears brought on by the movie’s last ten minutes of rhinestoned Rocky triumph taste salty, and real.
  24. Alita: Battle Angel
    This manga adaptation is a tired science-fiction odyssey, with bland digital effects piled onto a sappy non-story that feels like a two-hour elevator pitch for a 70-film franchise.
  25. Miss Bala
    It’s mostly left to Rodriguez to carry the absurdity on her shoulders, and the fact that she makes it so watchable is a real testament to her abilities. Next time, may the material rise at least halfway to meet her.
  26. King of Thieves
    Thieves feels oddly joyless — a mostly rote perp walk through the mechanics of unarmed robbery, sprinkled with occasional slapped-on signifiers of fun (wild camera angles, snazzy soundtrack, smash-cut flashbacks to Swinging London).
  27. Arctic
    Penna’s concept is hardly new, but his execution is sharp, clean, and smartly paced; a harrowing postcard from the void.
  28. Polar
    Åkerlund — the Swedish mastermind behind tastemaking music videos for the likes of Beyoncé, Lady Gaga, and Taylor Swift — has jittery, high-gloss style to spare. But the primary-colored nihilism of his storytelling feels amateurish and ultimately exhausting; a gleefully unhinged teenage-boy dream that aims only for hard, shiny surfaces, and stays there.
  29. Piercing
    Clocking in at a lean and very mean 81 minutes, writer-director Nicolas Pesce’s follow-up to his grim 2016 black-and-white arthouse chiller "The Eyes of My Mother" is a sick-joke psychological cat-and-mouse game with just enough twists to keep you on your toes.
  30. Velvet Buzzsaw
    For a lot of its runtime, Velvet is fun and silly and enjoyably outrageous. It’s hard, though, to walk away with a real sense of anything more than blood on the canvas and a blank where your feelings — beyond mild bemusement, and a sudden appetite for prime Los Angeles real estate — should be.
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