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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    • 95 Metascore
    • 100 Critic Score
    Double Indemnity
    Barbara Stanwyck cracks wise too, while dripping pheromones.
    • 78 Metascore
    • 83 Critic Score
    Gaslight
    It’s canny, gothic fun, helped along by Lansbury (in her film debut) as a tarty maid who delights in overstepping boundaries.
    • 78 Metascore
    • 75 Critic Score
    Lassie Come Home
    The slightly older set will be hard-pressed to watch Lassie Come Home without a great big lump in the throat.
    • 68 Metascore
    • 67 Critic Score
    Watch on the Rhine
    Lillian Hellman’s WWII potboiler Watch on the Rhine feels dated.
    • 62 Metascore
    • 83 Critic Score
    Random Harvest
    Garson and Ronald Colman beautifully play the delicacy of two aching souls trying to recapture their lost romance.
  6. Bambi
    Naturally, if you’re putting it before youngsters’ innocent eyes for the first time, you’ll want to stick close by in order to play grief counselor when Bambi’s mother ”meets” a hunter in the woods.
  7. To Be or Not to Be
    One of Hollywood’s funniest, and most poignant, classics.
    • 89 Metascore
    • 83 Critic Score
    Sullivan's Travels
    Preston Sturges’ most famous film, Sullivan’s Travels, may not match the sleek perfection of his ”Lady Eve,” but its endlessly fertile and still influential fusion of satire, screwball comedy, drama, and slapstick (most recent homage: the Coen brothers’ ”O Brother, Where Art Thou?”) remains tartly fresh.
    • 74 Metascore
    • 75 Critic Score
    Suspicion
    A few bravura sequences aside, it’s fairly flat.
    • 88 Metascore
    • 75 Reviewed by
      Ty Burr
    How Green Was My Valley
    The acting is strong (especially that of 13-year-old Roddy McDowall as the youngest son and Maureen O’Hara as the lovelorn daughter), and Arthur Miller’s Oscar-winning photography gives the images a spooky luster, but a little bit of Ford’s salt-of-the-earth piety goes an awfully long way.
    • 97 Metascore
    • 100 Critic Score
    The Maltese Falcon
    Boldly manipulating light and shadow, utilizing drastic camera angles, and introducing Bogart’s Sam Spade, the first-time director’s detective classic defines film noir.
  12. Citizen Kane
    What’s magical about Kane — the sheer transformative thrill of invention — is there in every shot, every performance, every narrative surge.
    • 63 Metascore
    • 42 Critic Score
    Mr. & Mrs. Smith
    For a rom-com, it's neither funny nor particularly romantic despite the actors' best efforts.
    • 84 Metascore
    • 91 Critic Score
    The Letter
    In William Wyler’s richly torrid melodrama The Letter, Davis unsurprisingly mesmerizes as a duplicitous murderess pleading self-defense. What is surprising is how, with the help of a good, sympathetic director, she doesn’t play the role in all-out pit viper mode. Instead, Davis reveals something vulnerable and pitiable.
    • 99 Metascore
    • 100 Critic Score
    Pinocchio
    Among all of Disney’s endangered-tot stories, including Cinderella and 101 Dalmatians, only Pinocchio plucks the heartstrings with such incomparable resonance. Why? One reason is that this movie consistently sprinkles adorable comedy relief (has there ever been a more endearing sidekick than guardian Jiminy Cricket?) over scenes of malice, dismay, and outright horror.
  16. Gone with the Wind
    To see Gone With the Wind on a big screen again is to weep for the fearlessness with which Hollywood once believed the sublime was possible.
    • 96 Metascore
    • 100 Reviewed by
      Ty Burr
    The Shop Around the Corner
    What makes Shop timeless, ironically, is the specificity of its setting: a small department store in Budapest at the end of the global Depression.
    • 52 Metascore
    • 42 Critic Score
    Jamaica Inn
    The film looks decent, though not as striking as any of Hitchcock's prior sound films.
  19. The Wizard of Oz
    The Wizard of Oz remains the weirdest, scariest, kookiest, most haunting and indelible kid-flick-that's-really-for-adults ever made in Hollywood.
    • 69 Metascore
    • 75 Critic Score
    Beau Geste
    Spirited performances don’t / quite redeem the melodramatic contrivances of this often-filmed piece of romantic nonsense. But the Moroccan desert (actually Arizona) looks great, and at the very least, this Geste is leagues better than the 1966 remake with Telly Savalas.
  21. Stagecoach
    Action-packed and jaw-droppingly epic (it was the first time director John Ford ever shot in Monument Valley), Stagecoach is the perfect Western to show to people who don’t like Westerns.
    • 77 Metascore
    • 75 Critic Score
    Young and Innocent
    One of Hitchcock's lighter thrillers, Young and Innocent is a straightforward wrong-man film elevated by the chemistry of its leads, Derrick De Marney as fugitive and Nova Pilbeam as a young woman roped into his antics. Despite being relatively underwritten, their romantic dynamic crackles as the two easily find the comedy in every scenario without undermining the dramatic tension.
    • 78 Metascore
    • 83 Critic Score
    Nothing Sacred
    Ben Hecht supplied the cynically amusing script, but the brilliant Lombard makes it fly — wringing laughs from an arsenal of loopy gestures and cacophonous outbursts.
    • 91 Metascore
    • 100 Critic Score
    Swing Time
    Top Hat is tops with two of the duo’s most sublime numbers. The George Stevens-directed Swing Time, featuring glorious Jerome Kern-Dorothy Fields songs, is just as good.
    • 67 Metascore
    • 67 Critic Score
    Secret Agent
    It's pleasant to see a story that highlights the pointless absurdity of war and espionage, although some of the jokes are pretty mean-spirited.
    • 93 Metascore
    • 100 Critic Score
    Top Hat
    Top Hat is tops with two of the duo’s most sublime numbers (The Piccolino, Cheek to Cheek), plus Fred’s rat-a-tat solo, a funnier-than-you-remember script (Erik Rhodes’ English-mangling designer exclaiming: ”Never again will I allow women to wear my dresses!”), and the hummable Irving Berlin score.
    • 95 Metascore
    • 100 Critic Score
    The Bride of Frankenstein
    The gloriously baroque Bride of Frankenstein is in every way a richer, more imaginative experience than its straight-arrow predecessor.
    • 56 Metascore
    • 67 Critic Score
    Strauss' Great Waltz
    Decently crafted, but somewhat stiff and unremarkable.
    • 80 Metascore
    • 100 Critic Score
    The Gay Divorcee
    The repartee is sharp, the plot is delightfully ridiculous, and the numbers — like ”Night and Day” and the epic Oscar winner ”The Continental” — are knockouts.
    • 72 Metascore
    • 75 Critic Score
    Flying Down to Rio
    In their first big-screen pairing, fourth-billed Ginger and fifth-billed Fred play second banana to a bandleader and his Latina love in Flying Down to Rio, a nutty entry that springs alive for ”The Carioca,” possibly the duo’s sexiest dance.
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