Entertainment Weekly's Scores

For 7,629 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 Them!
Lowest review score: 0 Wide Awake
Score distribution:
7629 movie reviews
  1. It's a little sad to say that aside from certain surprises, much of Across the Spider-Verse's contents were in the trailers. The job of a trailer is to show viewers the premise of a movie without spoiling the conclusion — but there's no conclusion here!
    • 59 Metascore
    • 91 Critic Score
    The human world, it's a mess, but with Halle Bailey, life under the sea is better than anything Disney live-action has done in nearly a decade.
  2. Fast X wants all the grandiosity of finality while not actually ending anything.
  3. The MCU has been stumbling a bit since it bid goodbye to Captain America and Iron Man, and by reuniting us with characters we've known and loved for years, GotG 3 marks a welcome pivot from a recent run of unimpressive experiments and disappointing debuts. It'll be a long time, if ever, before we feel this kind of emotional payoff from this franchise again.
    • 61 Metascore
    • 75 Critic Score
    It's quiet and charming and has some beautiful, if also familiar things to say about fathers and sons, and the question of legacy. But it's not breaking any new or revelatory ground.
  4. The film version is an utter delight, a loving adaptation that's both true to the book and endearingly fresh.
  5. It's all quite fun, with a good sense of humor and a consistent computer-animated aesthetic — plus, at 90 minutes including credits, it's short, sweet, and over before anything can get annoying.
  6. What's especially welcome about the humor in Honor Among Thieves is that it doesn't wink or mock its material; the characters just say funny things and bounce off each other as organically as a real-life friend group. The fantasy elements are played straight, and the central story is a relatable romp about how people who fail as individuals can still succeed together.
  7. As Wick carves a path of stoic destruction across several continents, the series' longtime director Chad Stahelski, once Reeves' Matrix stand-in and longtime stunt coordinator, gets down to the business of what he loves best: creative kills, far-flung zip codes, and incalculable body counts.
  8. Splattery, puncture-heavy violence — the hard-R rating is earned — alternates with deadening rafts of therapy-speak, including an actual therapy session. But there's no deeper meaning to any of it; the Scream idea, meta to its core, was always a preening celebration of its own cleverness, never mind the occasional half-explored nods to toxic fandom or cancel culture.
  9. Globe-trotting tomfoolery ensues, in ways never quite as witty or engaging as you want them to be, though Hugh Grant and Josh Hartnett bring a certain insouciant zing.
  10. With its English subtitles and small-scale epiphanies, Girl is the kind of quiet film that could easily get lost in a noisy season; lean in anyway, and listen.
  11. It's all patently ridiculous, and even at 95 minutes, a stretch to call this loose cannonball of high camp and sticky-bright gore a movie.
  12. Majors, already seemingly inescapable this year, brings a wounded menace that suggests the many sedimentary layers of fury and grief underneath; he's less some sneering Iron Curtain meathead á la Rocky villains of yore than a lost soul.
  13. There's something gently intoxicating about O'Connor's dreamlike pastoral settings — oh, those wily, windy moors! — and her determination not just to rewrite Emily, but set her free.
  14. In its colorful, Godardian way, Return to Seoul becomes a quest movie, but not the one you're expecting — it's the opposite of sentimental or overly therapized.
  15. At just over 120 minutes, though — a blink in Marvel time — this Ant-Man is clever enough to be fun, and wise enough not overstay its welcome. Who better understands the benefits, after all, of keeping it small?
  16. There's a low-key charm to the movie's knowing spin on familiar beats, and far more chaotic non-sexual nudity than Julia Roberts would ever allow in her contract.
  17. It's easy to lose count of the double and triple crosses in Sharper, a silly and unabashedly camp thriller that is, frankly, exactly the kind of sleek, shenanigan-y frolic that bleak midwinter calls for.
  18. What should be breezy, featherweight fun — Reese! Ashton! A screenplay by the lady who wrote The Devil Wears Prada and 27 Dresses! — instead turns out to be oddly hollow, a meandering and synthetic approximation of classic rom-com canon with too little romance or comedy in its strained, familiar formula.
  19. Last Dance is missing a lot, but it has the moves you mostly came for — and in its final strobe-lit moments, the full release of a Hollywood ending.
  20. Shyamalan may be saying something meaningful about faith or environmental destruction or the corrosive fraying of the social contract (could this vigilante crew really be motivated by pure homophobia, as Andrew believes?). But the message is mostly lost in sentiment, and a lingering sense of the better, messier movie that might have been.
  21. Ejiofor is eminently relatable as an analog man who can't seem to understand where it all went wrong, and Clarke's eyebrows knit with such pained expressiveness, it's as if they're having their own wriggling monologue throughout the movie.
  22. Shot in alternating French and Flemish, it's also quintessentially European, but the language of his storytelling is the most universal kind: a moving and often sublime piece of small-scale filmmaking, told with uncommon empathy.
  23. The movie is much better when it relaxes its death grip on screenwriter-y punchlines and slapstick cringe and just allows its cavalcade of stars to act like actual, you know, people.
  24. At least Mia Goth, herself recently reborn as indie horror's new scream queen with Pearl, understands the assignment, getting more unhinged with every scene (her character starts off with vigorous flirting and a brusque handjob, and goes from there).
  25. This Wedding clearly wasn't meant to be a masterpiece, but even as mid-winter fluff it feels like a rush job: a marriage made for lazy-Sunday streaming at best, 'til death — or more likely, a better script — do you part.
  26. By swerving into territory already better owned by outrageous indies like Promising Young Woman — and to a lesser degree, last year's Sundance breakout Fresh — Cat forfeits its own underlying message, without finding anything else new or even particularly coherent to say.
  27. Directors Nick Johnson and Will Merrick sometimes strain the credulity of what shooting in-screen can do — June's laptop camera does a lot of heavy lifting — but the movie rarely feels forced or claustrophobic; it's just a whizzing, cannily of-the-moment spin on a familiar genre, reupped for the Genius Bar age.
  28. Even as the pacing falters, Majors is impossible to look away from: a man who desperately needs the world to see him — and if they refuse, to feel his pain.

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