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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    • 54 Metascore
    • 58 Critic Score
    Suddenly, Last Summer
    A deliciously bad film.
  2. Pillow Talk
    Nominated for five Oscars, Pillow Talk led to two more Day/Hudson collaborations, but this is by far the best.
    • 56 Metascore
    • 91 Critic Score
    Plan 9 from Outer Space
    Shockingly nonlinear, boasting a cast of the once great (Lugosi), the never-even-good (Lyle Talbot, Tor Johnson), and the unbelievably motley (”psychic” Criswell, cinch-waisted Vampira), its 79 minutes are jam-packed with insanity, and those tin plates on strings that Wood tries to pass off as flying saucers are the least of its delights.
  4. Anatomy of a Murder
    It’s a daring, cynical gem.
    • 88 Metascore
    • 91 Reviewed by
      Ty Burr
    Wild Strawberries
    A film that goes where many others have gone (yes, this is Scrooge for Ph.D.s) but with a subtlety few have dreamed of?
    • 87 Metascore
    • 83 Critic Score
    Imitation of Life
    A prime example of a brilliant director’s stealthy use of a denigrated genre to slip in subtle social comment and genuine pathos.
    • 85 Metascore
    • 100 Critic Score
    Sleeping Beauty
    Barbie-doll-slim Princess Aurora, cursed to enter suspended animation at 16, and her Abercrombie & Fitch-worthy savior Prince Phillip, who literally rides a white horse — aren’t as much fun as the three fussy-old-lady fairies who become their protectors. This movie is all about the lure of supporting ornamentation.
    • 49 Metascore
    • 50 Critic Score
    The Old Man and the Sea
    Essentially, it’s a slow-moving, low-rent Moby Dick with portentous voice-overs and unconvincing process shots of Spencer Tracy in a studio tank. In fact, why director John Sturges (The Magnificent Seven) bothered to make it remains a mystery.
    • 61 Metascore
    • 75 Critic Score
    The Big Country
    William Wyler’s sprawling Western about iron-willed ranchers squabbling over desirable land, The Big Country, is one of the prime wide-screen epics of the late ’50s, but today it’s remembered mostly for composer Jerome Moross’ magnificent Big Sky score.
    • 84 Metascore
    • 91 Critic Score
    Cat on a Hot Tin Roof
    The manipulative Maggie, irritated by the heat and by Gooper and Sister Woman’s ”no-neck monsters,” is among Taylor’s most accomplished creations and earned her a second Oscar nod; the performance has an inner coil in it, as if something were ready to spring at any second.
    • 62 Metascore
    • 67 Critic Score
    The Fly
    The original The Fly scared baby boomers something fierce in its day, but time hasn’t been kind to it; in fact, its big scare moments seem almost ludicrously chaste.
  12. Touch of Evil
    A film noir great... Just to see and hear the extraordinary 3 minute and 20 second opening sequence — a fluid tour de force tracking shot — without impediment of opening credits and street-sound-masking movie score is accomplishment enough.
    • 88 Metascore
    • 100 Critic Score
    The Bridge on the River Kwai
    The Bridge on the River Kwai is that rare film about something as seemingly black-and-white as World War II that is colored entirely in shades of gray, and the better for it.
    • 68 Metascore
    • 91 Critic Score
    Jailhouse Rock
    If you’re looking for cool, here’s Elvis Presley at his absolutely arctic.
    • 58 Metascore
    • 58 Critic Score
    The Three Faces of Eve
    What seemed steamy in 1957 — a reasonably frank look at mental disorder and repressed sexuality — is today the stuff of Oprah.
    • 73 Metascore
    • 83 Critic Score
    The Incredible Shrinking Man
    The most unpretentious and poignant sci-fi film of them all.
    • 86 Metascore
    • 100 Critic Score
    Written on the Wind
    Boiling over with heated acting and schmaltzy scores, Douglas Sirk’s ’50s melodramas tap neatly into our collective trash psyche. Penetrate the surface, however, and they’re as serious and heartfelt as their director was.
  18. The Killing
    The kind of Swiss-watch precision and attention to detail that would eventually get Kubrick labeled Hollywood's most notorious perfectionist.
  19. Godzilla, King of the Monsters!
    Godzilla is still the most awesome of tacky movie monsters — a Jurassic knockoff of King Kong whose ritual stomping of Tokyo never quite lets you forget that you’re watching a man in a lizard suit trash a very elaborate toy train set.
    • 80 Metascore
    • 91 Critic Score
    Forbidden Planet
    It’s quintessential ’50s male chauvinism, and Nielsen plays it with a man’s-gotta-do-what-a-man’s-gotta-do stiffness.
    • 88 Metascore
    • 83 Critic Score
    Richard III
    Olivier’s spidery Richard — shuttling around with a black pageboy haircut and sleeves dangling to his knees — revels in his eloquence yet remains deliciously wicked.
    • 92 Metascore
    • 100 Critic Score
    Invasion of the Body Snatchers
    An extremely tight, beautifully made film.
    • 78 Metascore
    • 83 Critic Score
    All That Heaven Allows
    Boiling over with heated acting and schmaltzy scores, Douglas Sirk’s ’50s melodramas tap neatly into our collective trash psyche.
    • 63 Metascore
    • 83 Critic Score
    The Man with the Golden Arm
    Though director Otto Preminger’s decision to use an RKO set instead of Chicago locations initially jars, he makes it work, amping up the claustrophobic tension in beautifully choreographed long takes.
    • 65 Metascore
    • 75 Critic Score
    Land of the Pharaohs
    Joan Collins and her pointy bras are a hubba-hubba hoot.
    • 78 Metascore
    • 100 Critic Score
    Lady and the Tramp
    The first animated feature filmed in CinemaScope.
  27. Rear Window
    Masterpiece of voyeurism.
    • 74 Metascore
    • 100 Critic Score
    Them!
    The movie’s then-state-of-the-art mechanical beasties aren’t entirely convincing, but this archetypal ’50s monsters-on-the-loose flick can still tingle your carapace, thanks to taut direction, an intelligent script, a believable cast, and a nail-bitingly effective climax in the sewers of Los Angeles.
    • 67 Metascore
    • 75 Critic Score
    The Wild One
    Brando’s tight denims and defiance prefigured James Dean’s archetypal rebellion.
    • 74 Metascore
    • 83 Critic Score
    Calamity Jane
    [Day] is dizzyingly kinetic (and funny) as Calamity Jane‘s tomboy cowgirl.
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