Entertainment Weekly's Scores

For 7,381 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 2.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Fruitvale Station
Lowest review score: 0 Navy Seals
Score distribution:
7381 movie reviews
  1. Frankly, it's almost enough just to watch them all run around in states that range from manic panic to Zen serenity while McKay employs his usual coterie of meta tricks and treats. But it's hard not to long for the shrewder movie that might have been: Not just a kooky scattershot look, but a deeper truer gaze into the void.
  2. There are more cohesive coming-of-age movies to be sure, and subtler ones. But God doesn't really try too hard to make it all make sense; it's just one boy's dolce vita, drenched in Mediterranean sun, hormones, and salt air.
  3. Nightmare Alley is both a beautiful-looking film and an oddly forgettable one, maybe because borrowed material is no match for the ingenious creations of del Toro's own mind.
  4. It feels like a rare achievement to even attempt to scale the unscalable and still, after more than half a century, be able to make it sing.
  5. Licorice (the title, never once mentioned or explained, remains a happy non sequitur) is a love letter to an era, and more than that a feeling: a tender, funny ramble forged in all the hope and absurdity of adolescence, one wild poly-blend rumpus at a time.
  6. The cast's chemistry never quite gels beyond their staged circumstances, and too much of the dialogue replicates actual life without finding a deeper resonance: the rambling anecdotes, latent passive aggressions, and aimless small talk of ordinary people just living their lives.
  7. Gucci might have been a better movie if it had fully committed to the high camp its Blondie-soundtracked trailer promises. It's more serious than that, at least intermittently; a strange melange of too much and not enough. The script also skimps, weirdly, on the actual murder, which is treated mostly as a framing device and felonious afterthought until the final moments. But even a House divided is still more fun than it probably should be: a big messy chef's kiss to money and fashion and above all, movie stars — criming and scheming like they have nothing left to lose, until it's true.
    • 74 Metascore
    • 91 Critic Score
    Tick, Tick… Boom! is a totem for the thrills and trials of making art, with all the sacrifices and empathy it requires.
  8. For all its eerie scene-setting and squishy entrails, Antlers never really exposes the emotional guts of its narrative beyond the scope of midnight-movie horror; without that, it's just another nightmare fairytale leaning hard on heavy vibes and jump scares, and losing the forest for the trees.
  9. For all the outsize fight scenes and casual profanity though, the whole thing is oddly bloodless. (Even a rampaging bull hardly leaves a bruise.) And so Red Notice goes: blithely skimming through its slapstick fantasy, and laying bejeweled eggs wherever it lands.
  10. For all of Larraín's artistry, Spencer would crumble in the hands of the wrong actress, and Stewart gives one of the best performances of her career so far as this highly subjective version of Diana.
  11. Nothing in Souvenir Part II is obvious; one could argue it's even obtuse to the point of excluding most casual moviegoers. But surrendering to Hogg's slow alchemy still feels like a rare treat: a beguilingly meta portrait of the artist as a young woman learning to find herself not just in the mirror of others, but in her own hand behind the camera.
  12. Soho is one hell of a half of a movie: a wildly styled neon reverie whose spooky bedazzlement only crashes to earth when it succumbs to bog-standard horror in the final act.
  13. The looping flashback structure and relaxed, intimate pacing has the odd effect of making the fate of the free world feel a lot less urgent than it probably should; the movie frequently comes off less like a standard MCU tentpole than a metaphysical family drama whose black sheep just happens to be Thanos.
  14. The film can't seem to stop piling on idiosyncrasies, a kind of willful kookery that mixes uneasily with the more serious elements of personal tragedy and mental illness that run through it.
  15. There are some jokes here — Paul Rudd brings a little lightness to the proceedings as the kids' science teacher, Mr. Grooberson — but it's hard to escape the overall sensation of, well, a corpse being exhumed.
  16. The movie's stark Nordic mood and obscure mystery are as coolly immersive as nearly anything on screen this year — and in the hammy world of supernatural horror, that ambiguity alone feels like a small, spooky gift.
  17. Duel is entirely, often sensationally watchable without ever quite justifying why it needs to remind us what the world has done to women for centuries.
    • 29 Metascore
    • 25 Critic Score
    If you want royal intrigue and insight, do yourself a favor and revisit Harry and Meghan's Oprah interview because Diana: The Musical is rather like the royal family itself these days, expensive and pointless.
  18. Rocket is leisurely episodic and at over two hours, almost certainly longer than it needs to be, but the director's singular gift for street casting — beyond Rex, hardly anyone here has acted professionally before — and deeply embedded sense of mood works its own kind of unhurried alchemy.
  19. If we're all disposable space chum in this franchise game anyway, who needs a coherent narrative and character arcs? Just bite the head off every chicken, and lean in.
  20. The levity of the first half is soon sorely missed, and the run length alone — the movie clocks in at just under 165 minutes — dilutes the intended emotional resonance of the final scenes; Never Say Time might have been a truer title.
  21. In an era when nearly everything that can be done on film already has been, Titane forges something sensational from nerve and pure metal, and makes it new.
  22. Saints can't be what Sopranos was — without the time or the ones who've been lost to tell it, fuggedaboutit. But for a hundred-something minutes, it feels close enough to coming home again.
  23. Laurent, an actress known Stateside for movies like Inglorious Basterds and Beginners, has adapted Ball from the bestselling novel by Victoria Mas, whose facts are rooted in actual history. She shares Mas' justifiable outrage at the casual inhumanity of it all — the brutal experiments and biased theories, the rampant physical and emotional abuse — and also her sense for melodrama.
  24. Riz Ahmed takes Encounter a long way. But he can't single-handedly carry a film that never quite figures out what it wants to be — stark sci-fi paranoia? Psychological family drama? Desert road-trip apocalypse?
  25. Guilty, for all its wild-eyed excess, does find some blunt-force propulsion for a while, particularly if you're coming to it new. But the movie seems to mistake the taut minimalism of the original for something that needs to be goosed and adrenalized, a thriller on constant defibrillator.
  26. Comes drawn in bold, broad strokes — a fond treatment of a flawed but fascinating American icon whose revelations feel mostly cosmetic in the end.
  27. Subtle it's not: Kate is red-meat storytelling, all broad outlines and crunched bones. But there's a visual wit and visceral energy to it that other recent efforts (the pop-feminist comic-book gloss Gunpowder Milkshake, also on Netflix, and Amazon Prime's spectacularly silly Jolt, featuring a rampaging Kate Beckinsale) struggle to find.
  28. Unless you're one of the few who's read Thomas Savage's 1967 book of the same name, on which the script is based, there's rarely a moment that doesn't feel racked with the queasy, thrilling promise of sudden violence or epiphany.

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