Entertainment Weekly's Scores

For 6,187 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 3.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 In the Bedroom
Lowest review score: 0 Pinocchio
Score distribution:
6187 movie reviews
  1. 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.
  2. Lavish with stunning imagery, the experience will ripple into your dreams.
  3. It’s a diabetically sappy big-screen self-help seminar that should have been titled The Book of Schmaltz.
  4. The final result is… rather unspectacular.
  5. While the film may justify its title in terms of the viscera on display, it is badly in need of a funny bone.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. Here’s a film that turns Michael Fassbender into a puppet, and oh, those strings hold him down.
  11. 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.
  12. 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.
  13. It’s as good as screen acting gets.
  14. Plotwise, Women is a wisp; as a mood piece, though, it’s almost irresistibly rich.
  15. At 160 stately, glacial minutes, it’s also an endurance test — one that can feel like its own act of faith to pass.
  16. Patriots Day benefits from a robust, concentrated timeline and sheer bat-out-of-hell pacing.
  17. It all works in theory. But the execution’s off.
  18. Passengers is not very good. In fact, it’s pretty bad.
  19. These actors are too good to be entirely sunk by the sheer silliness of the material (with the exception of Smith, who seems fully committed to playing the role of a human frown-face emoji).
  20. Rogue One would have been a very good stand-alone sci-fi movie if it came out under a different name. But what makes it especially exciting is how it perfectly snaps right into the Star Wars timeline and connects events we already know by heart with ones that we never even considered.
  21. The directorial debut of actress Katie Holmes, starring herself as Rita, a drunk single mother living out of her car, is the latest well-intentioned yet lousy-with-clichés treatment in the hard-luck-woman subgenre.
  22. It’s stunningly ambitious and thrillingly alive the way the best movies are.
  23. Shannon’s intensity is the best thing Frank & Lola has going for it. And it’s almost enough to make it work.
  24. Aniston has a great time as the vampy, Krav Maga-ing Bitch Who Stole Christmas, and Miller’s willful idiocy is weirdly endearing.
  25. Director Dito Montiel splinter’s the film’s story on multiple tracks, in a truly shameless and incredibly obvious effort to protect a Big Twist.
  26. In its audacious strangeness, the movie manages to do something history hardly ever gets to: surprise us.
  27. The too-clever conceit sabotages the whole thing.
  28. The film has a stunningly hypnotic look thanks to Zach Kuperstein’s crisp black-and-white ­cinematography. It feels like a waking nightmare. It’s just enough to make you wonder how a film that’s so ugly managed to look so damn good.
  29. The film’s overall effect lets the person — not the condition — be the real story, one that’s worth sharing.
  30. A love letter to the theater—and a deeply poignant one at that—Lonny Price’s sentimental documentary Best Worst Thing That Ever Could Have Happened… is a bittersweet gem.

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