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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    • 86 Metascore
    • 58 Critic Score
    Bonnie and Clyde
    Penn's film oozes an intellectual's fashionable contempt for the characters.
  2. Chimes at Midnight
    It’s a feast for the ears, eyes, and soul.
    • 63 Metascore
    • 75 Critic Score
    What's Up, Tiger Lily?
    References to vibrators and cattle prods mark the emergence of a hipper style of comedy, and, for the kids, there are gratuitous numbers by the Lovin’ Spoonful.
    • 71 Metascore
    • 50 Critic Score
    Seconds
    The technical dazzle can’t make up for the boring, unsympathetic characters. With no one to root for, this arty, humorless film ends up pretentiously empty.
  5. Who's Afraid of Virginia Woolf?
    It features the best real-life husband-wife pairing onscreen ever.
    • 69 Metascore
    • 75 Critic Score
    The Russians Are Coming the Russians Are Coming
    Still, the picture remains the only ”feel good” movie of the entire Cold War corpus.
    • 81 Metascore
    • 83 Critic Score
    The Hill
    Rebel-with-a-cause clichés are mostly averted by sturdy acting, Oswald Morris’ vivid black-and-white cinematography, and a satisfyingly bleak conclusion.
    • 58 Metascore
    • 83 Critic Score
    Help!
    The music (including Ticket to Ride) is wonderful and the European scenery an eyeful, but this is ultimately a movie starring the Beatles rather than a Beatles movie, and there’s a big difference.
    • 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.
  10. A Hard Day's Night
    They're like gods at play, paragons of pure delight, as they mock and feign their way through a universe of mere mortals. To see the movie again is to realize that they were never entirely of this earth and that they never will be.
    • 82 Metascore
    • 91 Critic Score
    Black Sabbath
    Three tales of expertly building suspense. [10 Jul 2013, Issue#1268]
    • Entertainment Weekly
  12. Charade
    Hepburn doesn’t know whom to trust and neither does the audience, which is what makes this Hitchcock-lite thriller so much fun. The chemistry between the two leads — something surprisingly missing between Depp and Jolie — is electric.
  13. The Incredible Journey
    Assuming you love animals — hell, even if you don’t — this is one of the best buddy movies ever made.
    • 77 Metascore
    • 75 Reviewed by
      Ty Burr
    Tom Jones
    Screenwriter John Osborne and Richardson (both received Oscars as well) came up with a smart solution to the problem of adapting an 18th-century literary classic: Turn it into bawdy slapstick with generous helpings of then- daring sex and violence.
    • 93 Metascore
    • 91 Critic Score
    8½
    Fellini weaves the director’s memories and fantasies into a brilliant blend as Guido comes to realize that lives, like movies, need direction.
    • 56 Metascore
    • 91 Critic Score
    How the West Was Won
    Despite wooden performances, the final feature filmed in true Cinerama is great fun and holds a wiiiiiide spot in cineasts’ hearts.
    • 94 Metascore
    • 91 Critic Score
    The Manchurian Candidate
    This gonzo satiric thriller is a riveting portrait of early-60's paranoia. [15 Nov 1996, p.82]
    • Entertainment Weekly
    • tbd Metascore
    • 58 Critic Score
    The Brain That Wouldn't Die
    The Brain That Wouldn’t Die has an equally familiar basic plot (mad scientist tampering in God’s domain), but it’s grimmer (a fair amount of gore), sleazier (B-girl catfights), and cruel to its leading lady, an attractive actress who spends most of the picture shot from the neck up, with her seemingly disembodied head sitting in a laboratory pan.
    • 79 Metascore
    • 75 Critic Score
    Lolita
    Stanley Kubrick’s adaptation of Vladimir Nabokov’s wicked, witty hymn to forbidden love loses some bite in the journey from novel to the screen, but it’s got its plummy pleasures, including a wonderfully subtle James Mason as Humbert Humbert, obsessed with the delicious Sue Lyon as the 14-year-old Lolita (bumped up from 12 in the book), and a marvelously blowzy Shelley Winters, hilarious as Lolita’s sexually voracious mom.
    • 97 Metascore
    • 100 Critic Score
    Jules and Jim
    Seminal Truffaut.
    • 85 Metascore
    • 91 Critic Score
    Victim
    While some may be put off by talk of ”abnormalities,” the inner struggle depicted so poignantly in Victim has not dated at all.
    • 79 Metascore
    • 83 Critic Score
    El Cid
    El Cid remains a visually sumptuous film graced with a passionate score by Miklos Rozsa.
  23. Splendor in the Grass
    With his ripe lips, flirty eyes, and pre-Calvin Klein-era androgynous appeal, the 24-year-old Warren is utterly believable as a boy who drives Natalie Wood plumb insane with sexual frustration in William Inge’s overheated melodrama.
  24. The Hustler
    Paul Newman won his Best Actor Oscar for its 1986 sequel, The Color of Money, but he executed an equally award-worthy turn in Robert Rossen’s jazzy, boozy pool-hall morality play.
    • 48 Metascore
    • 58 Critic Score
    BUtterfield 8
    Taylor’s work is several notches above the botched material, adapted from the John O’Hara novel.
  26. Spartacus
    The one scene with a hint of the eccentrically detached brilliance that would come to define ”Stanley Kubrick Movies” is the climactic battle, in which marching blocks of Roman soldiers are mowed down by fire: It’s war as the greatest halftime show ever choregraphed. Until then, Spartacus envelops you in the sort of bedazzled hero worship Hollywood never quite managed to bring off this rousingly again.
    • 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.
  28. The Bellboy
    This is where the brilliant second act of Lewis' career begins.
    • 56 Metascore
    • 67 Critic Score
    13 Ghosts
    The unconvincing wraiths appear whether you like it or not in this good-for-a-few-laughs feature.
    • 94 Metascore
    • 100 Critic Score
    The Apartment
    Wilder’s movie manages to be a scathing social satire and cautionary tale (the corporate lingo is prescient: ”preliminarywise,” ”manpowerwise”); a brilliant physical comedy (Lemmon’s tennis-racket-spaghetti-straining skills are superb); and a devastating romance between Baxter and Miss Kubelik (Shirley MacLaine). All of which makes Wilder’s masterpiece tough to take if you’re looking for a laugh riot.
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