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. Avatar: The Way of Water
    The movie's overt themes of familial love and loss, its impassioned indictments of military colonialism and climate destruction, are like a meaty hand grabbing your collar; it works because they work it.
  2. The Eternal Daughter
    Obliquely related to her recent movies, Hogg's latest is either her slyest joke to date, or another swerve in an especially fecund career phase.
  3. Violent Night
    A team of screenwriters more creative than Pat Casey and Josh Miller (best known for two manic Sonic the Hedgehog movies) might have done more with the backstory, and director Tommy Wirkola's beatdowns never transcend the merely serviceable. But there's no denying the joy in a child's eyes when she sees Santa's weapon of choice, a sledgehammer hefted with brutal artistry, and squeals its name: "Skullcrusher!"
  4. Sr.
    There's something lovely and quietly profound about where the film finds itself in the end: a generational love story that transcends old wounds and misadventures, and even, in its tender final moments, death itself.
  5. Spoiler Alert
    Anchored by the ridiculously charming Aldridge's chemistry with Parsons (distant but effective in comparison), Spoiler Alert defies expectations throughout, refusing to adhere to one genre or storytelling convention.
  6. Emancipation
    [Smith's] conviction carries Emancipation a long way, elevating what is essentially a B movie to the realm of something better than its outsize premise: a blunt instrument, maybe, but a brutally affecting one too.
  7. Glass Onion: A Knives Out Mystery
    Glass Onion doesn't feel like a movie that's meant, really, to be peeled. It's here strictly to dazzle you with money and murder and famous-people pandemonium, then sharpen its knives for the next installment.
  8. The Son
    Unlike The Father, which expanded Zeller's stage source material with maze-like complexity, The Son pins us in for an endgame that you wish had more of a takeaway than a gut punch.
  9. Lady Chatterley's Lover
    An unabashedly heady romance, rich in pretty costumes — when they're wearing them — and lush, lusty atmosphere.
  10. Devotion
    Powell and Majors, both born with surfeits of natural charisma, strain mightily to imbue their scant dialogue with deeper meaning, but Devotion, earnest and determinedly earthbound to the end, never really captures the air up there.
  11. The Inspection
    Union's sour presence suggests the tougher film that could have been, bookending the movie with a double dose of viciousness; theirs is a relationship that won't be solved by a crisp uniform. If this is Bratton's calling card — and it should be — her scenes are the ones that suggest the real promise to come.
  12. She Said
    It's faithfully acted by an earnest, intelligent cast, and directed with fervent purpose by Maria Schrader. But the result, for all its galvanizing, well-oiled plot machinations, remains consistently earthbound, and often frustratingly schematic, a movie so bent toward education and edification that it feels a little bloodless in the end — human tragedy as PSA.
  13. The Menu
    The movie loses some momentum in the final third, and tends to over-egg its caricatures of all these platinum-card fools and clueless masters of the universe. But its appetite for destruction is also too much fun in the end to refuse: a giddy little amuse bouche for the apocalypse to come.
  14. Black Panther: Wakanda Forever
    While a Black Panther without Boseman is undoubtedly nothing like the film's creators or any of its cast wanted it to be, the movie they've made feels like something unusually elegant and profound for the multiplex: a little bit of forever for the star who left too soon.
  15. The Wonder
    Wonder's spare, muted intrigue hangs mostly on Pugh and atmosphere, an elusive minor-key mystery.
  16. Bardo, False Chronicle of a Handful of Truths
    As an all-in-one viewing experience, Bardo is undeniably uneven, often maddening, and seems to have approximately 17 endings. Still, the movie is a marvel in its own way, dotted with pure cinephile delights and small unexpected pockets of profundity.
  17. Weird: The Al Yankovic Story
    Eric Appel's directorial debut essentially plays like a movie-length Funny or Die sketch — which it is, technically (or at least produced under that production umbrella): a giddy cameo-stacked satire propelled by murder, mayhem, Mexican drug lords, and athletic sex with Madonna. This is whole-cloth fantasy, of course, and that's the point: less Walk the Line than Walk Hard, with accordions.
  18. Louis Armstrong's Black & Blues
    A global celebrity during America's earliest conversations about civil rights, Armstrong preferred to keep his dissatisfactions to himself, becoming a symbol of change rather than a spokesperson of it. That tension comes to vivid life in Jenkins's worthy account, sure to be appreciated by those who come in on solid footing
  19. All Quiet on the Western Front
    This sprawling German-language adaptation of Erich Maria Remarque's classic WWI novel is a film that feels both aesthetically dazzling and full of necessary truths: an antiwar drama that transcends the bombast of propaganda mostly just because it's so artfully and indelibly made.
  20. Black Adam
    Black Adam is what happens when artists say they want to go dark but don't really have the stomach for it. Cue scenes of humorless mid-air wrestling, shake vigorously, wait for the sequel.
  21. Ticket to Paradise
    There's no doubt both actors deserve sharper, less silly material than this, but when they're playing beer pong in a Bali bar and drunkenly pogo-ing to House of Pain's "Jump Around," Paradise is almost, for a moment, a place on Earth.
  22. Raymond & Ray
    The whole thing is so airless and hollowly constructed, so full of mimed but unfelt feelings, that it's a relief to put this body in the ground and forever hold your peace.
  23. Wendell & Wild
    You'll forgive the movie its cluttered shagginess because its universe is so strange — even an icy puddle is rendered exquisitely.
  24. Aftersun
    Though any honest summation can't do it justice, Charlotte Wells's tender feature debut is the kind of revelation that movie fans dream of finding: not a wow so much as a guaranteed piece of emotional ravishment.
  25. The Good Nurse
    It feels like a faint insult to say that The Good Nurse could be a premium-cable product from long ago, one of those lightly prestige-y Sunday-night movies Showtime or HBO used to make. But it's also one crafted with sturdy, consummate skill, burnished by two Oscar winners who don't stint on their performances just because most people will end up seeing Nurse on a small screen.
  26. Halloween Ends
    Before it lumbers to its big showdown — halfheartedly, with all the excitement of a third installment of a third reboot cycle — Halloween Ends is an unusually Michael Myers-free affair. Where's the big guy?
  27. Till
    Till-Mobley's choice to let the world see what Mississippi had done to her son — she demanded an open casket at his funeral — helped ignite a movement, and made history. Till bears stirring witness to that, even if it leaves the full measure of her life a mystery.
  28. Luckiest Girl Alive
    Luckiest Girl is the kind of rainy-day thriller Netflix was made for: lurid, entertaining, patently silly. It's also kind of a mess, though at least some of that likely comes from condensing the busy, grisly events of a best-selling book into less than two hours of screen time.
  29. Triangle of Sadness
    Triangle hits more marks than it misses, and in a somber, often underwhelming season of would-be arthouse hits, the movie is a bona-fide trip: not the funhouse mirror we need for these ridiculous times, maybe, but one we deserve.
  30. God's Creatures
    As an acting showcase, Creatures is more than admirable; as a tourism ad for Ireland, untenable. As a movie experience, alas, it's both intriguing and teasingly incomplete.
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