Entertainment Weekly's Scores

For 6,259 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 3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 (500) Days of Summer
Lowest review score: 0 See No Evil
Score distribution:
6259 movie reviews
  1. If the first Kingsman, at its best, felt like a dry martini of a joke, then this one is more Jack and Mountain Dew — unsubtle, unrefreshing, and unnecessary.
  2. Strong builds a poignant, methodical portrait of loss.
  3. As Hurley and Rapp race against the terrorists, the plot is too dumb to be taken seriously and too self-serious to be any fun.
  4. Some of Status’s cringe comedy feels forced or simply wasted on soft targets.
  5. It’s an artful, quietly affecting piece of filmmaking, more than worth the lessons learned.
  6. The title isn’t the only thing about the film that has an exclamation point; every scene comes with one – and also seems to be in blaring, buzzing neon. The movie doesn’t know when to stop.
  7. Witherspoon can easily carry an entire movie in her dimples, but it’s hard not to measure Alice against a role as richly written as her recent turn on "Big Little Lies." Here, she’s mostly just a winsome proxy for midlife wish fulfillment — a bubbly brunch mimosa you drink up before the fizz is gone.
  8. You won’t find much new light shed on the reclusive author of The Catcher in the Rye in writer-director Danny Strong’s polished but cliché-festooned biopic Rebel in the Rye.
  9. It
    It is essentially two movies. The better by far (and it’s very good) is the one that feels like a darker Stand by Me — a nostalgic coming-of-age story about seven likable outcasts riding around on their bikes and facing their fears together... Less successful are the sections that trot out Pennywise. The more we see of him, the less scary he becomes.
  10. The film’s real treat is its deep acting bench with franchise veterans Scott, Pill, Liev Schreiber, Kim Coates, and Marc-André Grondin joined by Elisha Cuthbert, TJ Miller, and, of course, Russell, a real-life former hockey pro whose troubled villain is worthy of a redemptive spin-off film.
  11. As Chadwick (The Other Boleyn Girl, Mandela: Long Walk to Freedom) piles on the coincidences and misdirections, the movie finally collapses under its own schematic weight, and wilts to the ground.
  12. Between "Moonlight" and the upcoming "Call Me By Your Name," some are calling this the golden age of gay coming-of-age cinema; Beach Rats’ slow pacing and dreamy verité style doesn’t feel made for quite that level of mainstream appeal. But still it gets under the skin, and stays there.
  13. The characters come to life when they fight, and seem half-dead when they talk.
  14. The whole thing feels like the pilot episode of a third-rate comic-book vigilante TV show.
  15. A fizzy, twisty Southern-fried heist flick that’s more enjoyable the less you try to dissect it.
  16. It’s festooned with so many triumph-of-the-underdog clichés (including a climax you can see driving down the Garden State Parkway from a mile away), it’s like déja-vu with a breakbeat. The most remarkable thing about the film is how little you’ll actually mind by the end.
  17. Marjorie Prime in itself feels not unlike Walter’s hologram — almost real and almost human, but not quite flesh and blood.
  18. Despite the silly and sentimental nature of his dialogue, Bridges, in this wondrous emeritus phase of his career, sells every single line. Well, almost every.
  19. Annabelle: Creation isn’t a terrible film. Not exactly. The set-up is promising, and it offers some decent early jump scares. But eventually the thinness of the material becomes overwhelmingly obvious.
  20. The Hitman’s Bodyguard is strictly an Economy Coach experience, but it’s brainlessly fun enough in a late-’90s Brett Ratner buddy-comedy kind of way.
  21. Too much of the plot is spun with vanilla, especially tacked-on scenes of Walls’ starched careerist life in New York City with her Banker Boyfriend (Max Greenfield), presumably to engineer more screen time for the lead actress.
  22. It’s stronger as a collection of Ferguson voices and figures, such as rapper Tef Poe, who quiets a crowd in one scene by warning, “You ain’t gonna outshoot [the police].” In moments like those, Whose Streets? is a tragic yet essential portrait of a community under siege.
  23. The whole thing feels a bit like an Arabic riff on "Chinatown" or "L.A. Confidential" — a neonoir with a tawdry edge where our imperfect hero will eventually be doomed. It’s not a question of if, only when he will lose.
  24. A clever, corrosive little trick of a movie, a neon candy heart dipped in asbestos.
  25. How many times can you watch two middle-aged men impersonate Michael Caine? Your answer to that question will determine whether you should tag along with Steve Coogan and Rob Brydon on their third and latest fictionalized (and largely improvised) eating tour of Europe.
  26. The wild night eventually turns downright rabid, but ­Pattinson anchors Good Time, completely selling Connie from the moment he bursts into the frame and delivering the best performance of his career.
  27. His video essays may have hinted at an artist with a gifted eye, but Columbus is proof that Kogonada also possesses heart and soul as well.
    • 44 Metascore
    • 67 Critic Score
    While a quick payday might be the case for Berry on Kidnap (she also serves as a producer), the Oscar winner earns her way to the bank in this mildly titillating (albeit unsophisticated) thriller, which bears a striking resemblance to her 2013 flick "The Call."
  28. For all its well-worn outlines, the narrative exerts its own fierce, clenched-jaw grip: a cautionary campfire tale that reminds us it’s not merely the end that matters, it’s the style and skill of the telling.
  29. Bad dialogue, lame plot, fine. The bigger issue: How could a film with Elba and McConaughey have so little swagger?

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