Entertainment Weekly's Scores

For 6,741 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 Touch of Evil
Lowest review score: 0 The Perfect Man
Score distribution:
6741 movie reviews
  1. The result is a genuine space epic which also succeeds in being a very personal film, thanks in large part to Pitt’s performance.
  2. Beneath all the chinchilla and body glitter, there’s a smart, beating heart.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. Life is hard; Downton Abbey is easy.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. It’s a movie so well put together as a hero’s tale that it moves along almost too smoothly; the script by brothers Jez and John Henry Butterworth hits its marks of tragedy and triumph with a kind of shiny, measured inevitability.
  14. Unfortunately for Travolta (and for us), only one movie can hold the dubious distinction of being the worst. In place of Wiseau-style eccentricity, The Fanatic has contempt for both its characters and audience.
  15. The main problem with Chapter Two is that it goes on, and on, for so very long. If brevity is not necessarily the soul of a good scare, it would certainly serve a story that sends in the clowns, and then lets them just stay there — leering and lurking and chewing through scene after scene — until the there’s nothing left to do but laugh, or leave.
  16. The thing that truly makes the movie, though, is Bell.
  17. And even as the narrative goes through its sometimes sermonizing paces, it’s hard not to be moved by the singular passion of a woman who effectively dismantled her own life not just to salve her conscience, but to save the soul of a nation.
  18. The movie, which bowed to uniformly rave reviews at Sundance earlier this year, is also — it will probably be noted ad nauseum — the first film collaboration from Barack and Michelle Obama’s new production company Higher Ground. But the heart and soul of American Factory, like all American factories, is never really politics of course; it’s people.
  19. So come for the crossbows, etc., and to watch Weaving’s star be born in real time; stay for the socio-economic lessons and sweet, sweet revenge.
  20. In the end, it’s their fundamental goodness — not all the wicked, winky “bad” — that’s easily the best thing about Boys.
  21. Linklater, who brought such subtle, generous feeling to films like Boyhood and the Sunset trilogy, feels somehow miscast as the steward of Bernadette‘s willful eccentricities.
  22. Love, faith, Springsteen; that and a Sony Walkman are all it takes to surrender to the pure, ingenuous joy of Blinded by the Light, a Technicolor ode to the power of music so deeply tender and heartfelt that it disarms even the most misanthropic critic’s instincts.
  23. If the script’s epiphanies don’t feel quite as shocking or profound the second time around, it’s still pleasing to watch these beautiful, troubled people move through their equally beautiful spaces: something borrowed, something blue — and with Freundlich’s careful alterations, something new.
  24. Blessed with some firm hands on the terror tiller and a winning cast, Scary Stories to Tell in the Dark is a handsome, and deliciously horrible, horror movie.
  25. If One Child sometimes seems to raise more questions than it can answer, and more pain than it has room to explore, the movie offers an urgent and affecting reminder of what happens when the rule of law subsumes not just free will but the very act of existing — and the humanity that still, against all odds, endures.
  26. There’s so much talent in The Kitchen, and so much of it wasted; that’s kind of all you can think about for most of writer-director Andrea Berloff’s debut.
  27. Rain is not a bad movie, really, and it doesn’t sell itself as anything other than earnest, floppy-eared family entertainment. But there’s a gooey out-of-time feeling to the whole thing that a lot of films like these seem to have — a sentimental IV drip that steadily manipulates heartstrings without ever quite touching anything like true life.
  28. No one gets off easy here, and no one quite gets answers, either; maybe that’s the point.
  29. At nearly 140 minutes, the narrative takes its time wending toward a final, inevitable confrontation, and the incidents that punctuate it can sometimes feel like singularly ugly stations of the cross to be marked off; a series of random man- and nature-made cruelties meted out without pity.
  30. Director David Leitch (Atomic Blonde, Deadpool 2) seems to know how to set up his outrageous set pieces, then get out of the way often enough to let his stars do what they need to do: Joke, chokehold, kiss, and smash until the helicopters come home.

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