Entertainment Weekly's Scores

For 6,101 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 2.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Guy and Madeline on a Park Bench
Lowest review score: 0 Being Human
Score distribution:
6101 movie reviews
  1. The loner has to learn to put someone else first. It’s both as manipulative and hokey as that sounds, but occasionally it works well enough that you might find yourself getting choked up against your better judgment.
  2. For all its noble intentions, though, the movie struggles to transcend broad outlines: Its characters are strictly symbols, timeworn archetypes of good and evil as threadbare and familiar as the artfully faded calicos and denim on their backs.
  3. The Great Wall looks like it could be a really amazing video game. Alas, it’s a movie, and kind of a brick.
  4. The jokes are downright sophomoric… and sparse.
  5. Narratively preposterous and probably an hour too long, it’s the year’s first big howler. It could have been DeHaan’s "Shutter Island," but instead it’s just Gore Verbinski’s latest self-indulgent mess following "The Lone Ranger."
  6. Land of Mine is essentially bomb porn.
  7. It’s their quiet devotion and enduring dignity that give A United Kingdom not just a romantic center, but its soul.
  8. LEGO Batman revs so fast and moves so frenetically that 
it becomes a little exhausting by the end. It flirts with being too much of a good thing. But rarely has corporate brainwashing been so much fun and gone down with such a delightful aftertaste.
  9. Darker is strangely plotless and devoid of any real tension.
  10. The idea of a secret world of professional killers adhering to a set of civilized conventions may sound absurd, but it’s what makes the Wickverse more intriguing and far richer than the usual numbskull orgy of cinematic nihilism.
  11. As a threequel, Rings suffers a bit from franchise fatigue. It tries to fix that by giving viewers an even deeper look at the mythology of Samara and the videotape, with mixed results.
  12. It’s also a haunting, thought-provoking piece of work, made infinitely more powerful by all the things it chooses not to show.
  13. Crass, senseless, and relentlessly talky, War on Everyone mostly seems like a movie at war with itself.
  14. The Space Between Us attempts to take young love to literally new heights before crash-landing into an earthbound hash of schmaltzy clichés and romantic absurdities.
    • 40 Metascore
    • 75 Critic Score
    The Comedian explores the dynamics of such unorthodox attraction with its heart in the right place, but for all of its performative charm, it still suffers the untimely misfortune of following an old, white man grousing about the state of affairs as the world diversifies around him.
  15. The climax makes for a satisfying conclusion to the franchise—an ending which this writer expects, and even hopes, all concerned will studiously ignore when they get around to making the next one.
  16. By the film’s shattering end, you’ll feel the spirit of Arthur Miller, one of the great dramatists of the 20th century, reaching across the transom to touch one of the great dramatists of the 21st.
  17. Purpose itself plays like a family film from another era, its gentle sensibilities a million miles removed from the winky pop culture references and meta layers of most modern all-ages entertainment. The effect is sweet, benignly retro, and just a little bit boring; a comforting Milk Bone for the soul.
  18. If there’s a flaw with the film (and it’s a minor one), it’s Peck’s impulse to cram it with clips from lily-white Doris Day movies and John Wayne Westerns that are a bit too on the nose.
  19. Lavish with stunning imagery, the experience will ripple into your dreams.
  20. It’s a diabetically sappy big-screen self-help seminar that should have been titled The Book of Schmaltz.
  21. The final result is… rather unspectacular.
  22. While the film may justify its title in terms of the viscera on display, it is badly in need of a funny bone.
  23. Loach’s film isn’t as stridently political as it probably sounds. These are just proud people who want to be treated with respect. There’s one slightly melodramatic turn near the end that felt off, but by then I was already three tissues deep.
  24. Bayona packs his tale with spellbinding visuals and honest emotion, and if the ending doesn’t reduce you to tears, you may be the real monster.
  25. Charged with streamlining Figures’ knotty real-life histories, director Theodore Melfi (St. Vincent) tends to paint too much in the broad, amiable strokes of a triumph-of-the-week TV movie. But even his earthbound execution can’t dim the sheer magnetic pull of an extraordinary story.
  26. Even though Jarmuch has a distinct directorial style, it’s his style. It’s impossible to imitate. These days, I can’t think of a higher compliment.
  27. Here’s a film that turns Michael Fassbender into a puppet, and oh, those strings hold him down.
  28. The Autopsy of Jane Doe is essentially a 90-minute episode of Jack Klugman’s late-’70s TV show "Quincy, M.E." with more graphic gore, goo, and guts.
  29. Live by Night is clearly Affleck’s love letter to classic pulp, and almost no noir touchstone goes unturned in its two-hour-plus run.

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