Entertainment Weekly's Scores

For 6,776 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 2.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Love and Death on Long Island
Lowest review score: 0 See Spot Run
Score distribution:
6776 movie reviews
  1. But the truth, when it does come out, is devastating — to the point that it can feel invasive to watch such a profoundly private moment unfold on camera for our benefit.
  2. It delivers something more and better, too: a moving, beautifully humanistic story whose inevitable hardships are laced with real hope and levity.
  3. The mannered aye-matey dialogue often gives Lighthouse the performative feeling of a play, but Eggers (The Witch) is also a masterful stylist; judging by several cues, the story is set in some version of the 19th century, though it tends to treat time less as a set fact than a sort of metaphysical condition.
  4. For all the flying intestines and skulls that split open like past-due melons, Double Tap has another squishy organ at its center: a big, goofball heart.
  5. For kids maybe this is still magical; grownups, though, will waste many long, busily bedazzled minutes wondering why the powers that were able to bring Pfeiffer and Jolie together on screen couldn’t do at least marginally better by them both, and give them parts to truly sink their movie-star teeth into.
  6. What’s left is primarily a series of grand battleground set pieces — filmed crunchily, and well — and a series of consistently strong performances. (Has Mendelsohn every not been menacing and great in anything?).
  7. What’s lacking in this entertaining pulp quest, I think, is some essential surprise.
  8. A serrating, brilliantly stylized portrait of class and fate and family in modern-day Korea.
  9. It’s Nyong’o who makes Monsters worth spending 90 breezy, bloody minutes on; wielding her tiny guitar like she did a fateful pair of scissors earlier this year in Jordan Peele’s "Us," she’s both a warrior queen and a fallible, believable human woman — and never not a movie star in every scene.
  10. Somehow though, the film registers as a strange, airless whiff — stale, inert, and oddly melancholy. The script rarely rises above the schematics of a thousand thrillers that languish on late-night cable, and the almost willfully cliché dialogue sounds as if it’s been generated by some kind of free-with-purchase screenwriting app.
  11. Murphy...brings so much hope and hunger and pure life force to the role that he makes you believe in every punchline, pelvic thrust, and egregiously misplaced karate kick.
    • 75 Metascore
    • 100 Critic Score
    For those who saw it back in 1972, The Harder They Come was a revelation, evocative of a poor but vibrant Jamaican culture few Americans knew about, with a bombshell reggae soundtrack that for all intents introduced the musical genre here.
  12. If a motley crew of movie stars is what it takes to shine more light on government malfeasance, then let Meryl carry that torch in a wig and a bucket hat. But as a pure movie-going experience, it’s all kind of a wash.
  13. Lucy in the Sky’s attempt to sync cosmological visions with a believable human drama never quite works.
  14. It all becomes a sort of muddle for a while midway, one that’s not nearly as compelling as the acting itself, which is largely phenomenal, frequently surprising, and often more than a little bit heartbreaking.
  15. In the scheme of Almodóvar’s rich catalogue, Pain is probably too small, too sad, and too obtuse to really recommend as any kind of starting point. For longtime fans, though, it’s a gift; the kind of quiet glory worth waiting a few decades for.
  16. Abominable’s themes and arc are familiar kids’ movie fare, with only one real plot twist. But its reverent attitude toward nature and wonder is a welcome addition to the cartoon canon.
  17. Donald Trump was less kind, essentially abandoning him after his then still-secret diagnosis. Tyrnauer smartly doesn’t overplay the symbolism of their relationship, or work too hard to connect the dots; it’s all there to take or leave in the film’s shrewd, illuminating exploration of a man whose influence, for better or worse, may have far outdone even his wildest dreams.
  18. The result is a genuine space epic which also succeeds in being a very personal film, thanks in large part to Pitt’s performance.
  19. Beneath all the chinchilla and body glitter, there’s a smart, beating heart.
  20. Though it may not be an easy movie to watch, or even a particularly original one — there’s still Kramer vs. Kramer, after all — Marriage still feels like something special on the screen: a movie that somehow makes its intimacy seem like a radical act, one messy, heart-wrecking moment at a time.
  21. If its aim to inspire and educate inevitably leaves the movie feeling a little classroom-bound, Harriet is still an impassioned, edifying portrait of a remarkable life, and a fitting showcase for the considerable talents of its star, Tony-winning British actress Cynthia Erivo.
  22. A silly, stabby, supremely clever whodunnit that only really suffers from having too little room for each of its talented players to fully register in the film’s limited run time.
  23. Hanks plays Fred as he lays: a sort of secular Buddha in a red knit cardigan whose gently probing questions and Zen proclamations work as a slow dissolving agent on Lloyd’s resistance.
  24. The Goldfinch feels like more than the sum of its disparate parts; a painting in the wrong frame, maybe, but one whose imperfect beauty still draws you in.
  25. Life is hard; Downton Abbey is easy.
  26. It’s solidly rewarding to watch the wheels of Mercy turn, though the direction ... can’t seem to help falling into certain schematics that tend to follow movies like these: the original sin; the uplift; the leering good-old-boy sheriffs; the big-moment court scenes.
  27. Waititi ... finds such strange, sweet humor in his storytelling that the movie somehow maintains its ballast, even when the tone inevitably (and it feels, necessarily) shifts.
  28. If it all sometimes feels trapped in the amber of his intentions, Brooklyn still casts a quiet sort of spell: a meticulously, lovingly made mood piece, full of empathy for the ones who can’t speak — at least not always the way they want to — for themselves.
  29. If the blond, marathon-lean Zellweger hardly seems like a natural doppelganger for Garland, she subsumes herself completely in the role, without ever tipping over into some kind of gestural Judy drag.

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