Entertainment Weekly's Scores

For 7,062 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 2.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Gods and Monsters
Lowest review score: 0 Annabelle
Score distribution:
7062 movie reviews
  1. If the movie's entire axis spins on the kind of extreme discomfort comedy you almost need a pillow to chew on and a pile of Xanax to get through, that's also the particular genius of Baron Cohen, an artist who instinctively knows how to hold up a mirror — and that a cracked one can show us, maybe better than anything, exactly what we need to see.
  2. This Witches, alas, has the misfortune of doubling down on all the late writer's eccentricities, while somehow finding only a fraction of his magic.
  3. If wallpaper and polyester were any metric to judge a movie by, I'm Your Woman could have been a masterpiece.
    • 29 Metascore
    • 25 Critic Score
    There’s a great film to be made about organ donation — the miraculous, often mysterious link between donor and recipient and how that decision touches lives. But 2 Hearts doesn’t come close to finding the pulse required to be that movie.
  4. It tells a story as urgent and beautifully human as almost anything on screen this year.
  5. With or without that hallowed history, it's hard not to feel the lack of something in director Ben Wheatley's lush, ponderous update — the most obvious thing, perhaps, being Laurence Olivier and Joan Fontaine.
  6. There's more to admire than to love in Azazel Jacobs' arch drawing-room comedy, with its surreal styling and arch Wes Anderson-y tics — and something essential lost, maybe, in screenwriter Patrick deWitt's own adaptation of his acclaimed 2018 novel of the same name.
  7. A ramshackle, winningly raw coming-of-middle-age shot in vivid black and white but told in emotional Technicolor.
  8. As a reverent highlight reel and a history lesson, The Glorias gets the job done; as a movie, though, it rarely sings.
  9. The movie’s title, by the way, comes from the president’s own evaluation of his handling of the virus, a phrase he proudly repeated more than once.
  10. In Ewing’s hands and as anchored by two superb performances, Iván and Gerardo’s romance gets scaled up to an epic, a searing saga of the undocumented experience in which love is the binding force.
  11. Like a sturdier Mr. Rogers who just happens to prefer red anoraks to cardigans, Dick comes off as both a kind of holy sage and an extremely good sport — a man whose gentle, pure-hearted exuberance swells to fill nearly every frame.
  12. Boys no doubt has its benefits as both a history lesson and an outsize acting showcase for its talented cast; as a film experience in 2020, though, it often comes as a kind of relief to know that the seismic half-century-plus since its creation — as a play and a 1970 film, then a play and a movie again — have given us so many other sweeter, deeper stories to tell.
  13. Chicago 7 frames the past not just as entertaining prologue but a living document; one we ignore at our own peril.
  14. The story itself, with its gorgeous interiors and jazzy Chet Baker soundtrack, turns out to be a bit of a wisp, a dandelion puff tossed to the gods of romance and prime Manhattan real estate. But if the emotional stakes never really seem all that crucial (love wins, in the end), Murray brings his own cosmic weight.
  15. Jenkins and a nearly unrecognizable Winger make the most of their small monsters, peeling back layers of callousness and calculation to hint at the messier motivations underneath.
    • 68 Metascore
    • 83 Critic Score
    While the mystery might be elementary (my dear, notably absent, Watson), the storytelling is winkingly subversive, proclaiming that a new and welcome game is afoot.
  16. Durkin captures it all with a sort of menacing restraint, building a deeply disquieting mood from long, almost voyeuristic shots and loaded gazes.
    • 47 Metascore
    • 42 Critic Score
    For the most part, though, these secrets aren't worth passing along.
  17. What it does have in happy excess is Souza’s affable presence, and his remarkable trove of images.
  18. The last 15 minutes are frankly devastating — catharsis, thy name is ugly-cry! — but it all feels a little manipulative and thinly told in the end; Nancy Meyers reset in the key of tragedy.
    • 61 Metascore
    • 67 Critic Score
    It ultimately proves too unwieldy a subject for Ebersole and Hughes to essentialize in under 100 minutes.
  19. It's hard, too, to picture any actress other than McDormand (who also has a producer credit) in the part. She doesn't just become Fern, she creates her: melding Zhao's screenplay to her own fierce character in a way that feels almost uncannily real. Together, they've managed to make that rare thing: a film that feels both necessary and sublime.
  20. There's an austerity to the film — long shots of stone and candlelight, clipped dialogue — that can feel rigorous, almost grim. But Lee (God's Own Country) is only building a richer kind of mood, and priming the canvas for his actresses, who reward that faith with remarkable performances.
    • 57 Metascore
    • 42 Critic Score
    If the movie had just a little bit of truth, it could speak to people without "relatable" pandering about how adulting is hard and men are jerks! It's easy to parade around an ostentatiously broken heart, but that only means anything if it comes with baring a little bit of soul.
  21. A quintessentially American tale; profane, profound, and beautiful.
  22. With a cast so large and so consistently good, it's nearly impossible to single out more than a few players, though it's maybe most gratifying to see Holland so far from Peter Parker mode; his performance is delicately underplayed, which is not a claim Pattinson can probably make with a straight face.
  23. Richardson and Ferreira have a sweet, sharp chemistry: one the type-A perfectionist trying desperately to keep it together, the other a hedonist in green fun fur whose outrageous exterior masks a deeper hurt.
  24. Lee's hand in all this seems to be a light one; aside from his intimate but unobtrusive camerawork, the show appears essentially unaltered from the live performance.
  25. Whether its stronger rating and more somber tone will translate to a home-bound family audience, only time and streaming revenues will tell; in the meantime, Mulan might be the closest thing to a true old-fashioned theater-going experience the end of this strange summer will see.

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