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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    • 73 Metascore
    • 42 Reviewed by
      Ty Burr
    Cavalcade
    It’s rife with fey, unintentional camp like the scene in which a newlywed couple pledge eternal love on the deck of an ocean liner — only to move away and reveal a life preserver labeled Titanic. Cavalcade really won its Oscar because of Hollywood’s raging Anglophilia — the insecure sense that if a character says, ”Let’s all have a cup of tea!” the movie must be art.
    • 92 Metascore
    • 100 Critic Score
    King Kong
    Granddaddy of beast-on-the-loose movies.
    • 51 Metascore
    • 42 Critic Score
    Number 17
    The story is practically impossible to follow, the direction is imprecise, and the whole thing is visually dizzying.
    • 69 Metascore
    • 67 Critic Score
    East of Shanghai
    The director's handle on visual storytelling remains strong, but at this point, he hasn't quite figured out how to direct dialogue, which is a massive problem for a movie with so much talking.
    • 80 Metascore
    • 83 Critic Score
    The Public Enemy
    In William Wellman’s The Public Enemy, Cagney’s tommy-gun delivery and dancer’s grace make underworld life seductively enthralling.
    • 70 Metascore
    • 75 Critic Score
    Murder!
    After the introduction of the titular crime and a proto-12 Angry Men jury scene, the film becomes a playful meta-commentary on the inherent silliness of watching actors go through the motions of detective work, with numerous charming visual embellishments.
    • 77 Metascore
    • 100 Critic Score
    Animal Crackers
    One of the five essential Paramount comedies.
    • 40 Metascore
    • 42 Critic Score
    Juno and the Paycock
    Hitchcock deserves credit for putting his personal artistic flourishes aside to create a straightforward adaptation, undistracted by technical wizardry. Unfortunately, the film is essentially a vacuum with no sense of intrigue or urgency — there's practically no character development, thematic weight, artistic innovation, emotional resonance, or narrative thrust.
    • 51 Metascore
    • 42 Critic Score
    The Farmer's Wife
    It's technically competent but narratively sparse, with no humor or sense of urgency. Every scene feels as though it's 30 minutes long, which doesn't help its already lengthy runtime for a silent feature, with the latest restoration clocking in at almost two hours.
    • 63 Metascore
    • 83 Critic Score
    The Manxman
    Hitchcock's final fully-silent film is one of his greatest early works.
    • 71 Metascore
    • 75 Critic Score
    Blackmail
    The director's most literal signature elements are almost all on display in his first talkie — dizzying camerawork, endless staircases, and fast-paced chase scenes make the movie's best moments distinctly engaging.
    • 82 Metascore
    • 100 Critic Score
    The Lodger: A Story of the London Fog
    The movie simultaneously exploits and condemns our fear of the other — we suspect the stranger we know nothing about simply because we know nothing about him, and we almost hope that he's the killer because we so desperately want to be right.
    • 65 Metascore
    • 83 Critic Score
    Easy Virtue
    The courtroom scene that opens the movie is both exciting and technically marvelous, cleverly integrating flashbacks to clearly communicate the misfortune the main character has endured. The domestic melodrama that follows isn't as flashy or fast-paced, but it's perfectly fine, highlighting the cruelty of the wealthy class.
    • 66 Metascore
    • 50 Critic Score
    The Jazz Singer
    The plot is powerful because it’s so absurdly melodramatic.
    • 71 Metascore
    • 50 Critic Score
    The Ring
    The only movie for which Hitchcock claimed sole writing credit isn't particularly captivating — it's a relatively standard boxing movie with a textbook love triangle at its center.
    • 97 Metascore
    • 100 Critic Score
    Battleship Potemkin
    It’s required viewing in virtually every Film 101 class. Look at any MTV video or any slick million- dollar minute of advertising, and you’ll see its origins in that assemblage of shots in Potemkin.
  17. The Life of Jesus
    It’s only when you’re in the grip of the climax that you realize how richly the filmmaker has painted a landscape that to other eyes might appear so parched.
    • tbd Metascore
    • 67 Critic Score
    My Best Friend
    [Lanthimos] also co-directed it with comedian Lakis Lazopoulos, which means there are fewer of his handprints here, though he still imbued the buddy comedy (about a man who finds his pal in bed with his wife) with plenty of dark humor.
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