Entertainment Weekly's Scores

For 6,895 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 2.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 To Be and to Have
Lowest review score: 0 Gun Shy
Score distribution:
6895 movie reviews
    • 86 Metascore
    • 91 Critic Score
    Camp, like last year's "American Factory," is a Netflix project with the not-inconsiderable heft of executive producers Barack and Michelle Obama behind it, which will undoubtedly earn it some extra attention. That's great if it helps the film, though it's clear who the real heroes are here: a group of kids that society consistently marginalized, mistreated, and ignored, until they fought their own way off of the sidelines and into the world.
  1. It helps immensely that the film has an actress like Amy Ryan (Birdman, Beautiful Boy) to play Mari Gilbert, whose years-long battle to get anyone at all — the press, the police, the people of New York — to care about her daughter Shannan forms the emotional core of the story.
  2. The Hunt stuffs a satire grenade down America’s pants, hoping the shrapnel spreads from sea to shining sea. The explosion is messy, but it sure is an explosion, with a brisk hour-and-half runtime full of violent twists and cackling turns.
  3. A bittersweet comic absurdity, told in the rhythms of real life.
  4. If Bening’s genteel British accent sometimes feels a little wobbly, her character is by far the most vivid force in the film.
  5. Affleck keeps the movie anchored with his rumpled, unshowy performance: a man killing himself to live, until he can start to believe that maybe there's a better way.
  6. Even at a relatively brief hour and 37 minutes, the familiar contours of Scanlon's story line struggle to conjure the wonder that Pixar’s most transcendent movies do; instead of truly new, it’s mostly old things borrowed, and tinted blue.
  7. If Big Time isn’t exactly a PSA for good adulting, it’s still an endearingly messy portrait of boyhood and manhood and all the lessons in between.
  8. If the buildup and catharsis of its final minutes are more than a little silly, and marred by Whannell’s urge to put too neat bow on it all, the movie still has its satisfying jolts — including possibly one of the single most shocking screen deaths so far this year.
  9. The freshness is found, primarily, in the energy of her storytelling and her vital young cast.
    • 47 Metascore
    • 75 Critic Score
    Though this tale of redemption and survival doesn’t feel particularly relevant or essential in today’s media landscape, it still has the capacity to entertain and move, well over a century after the story first was published. And Ford’s presence and performance inject it with a wild heart it desperately needs.
  10. As an attempt to scale the craggy heights of a marriage in crisis, Downhill may be more bunny slope than black diamond — a force mineure, but still worth the trip.
  11. Though it also feels like the kind of movie you wish they made more often for all the boys, and girls, still figuring out who they are — especially the ones who don’t tend to see themselves nearly enough on screen: a reflection shinier than real life maybe, but generous and good-hearted to the core.
  12. Does the movie’s pop-feminist message need to be as consistently, cartoonishly violent as it is? Almost definitely not. But in a world gone mad, the catharsis of Prey’s twisted sisterhood doesn’t just read as pandemonium for its own sake; it’s actually pretty damn sweet.
    • 92 Metascore
    • 100 Critic Score
    There’s no need to heavily editorialize here; Hittman is an assured enough filmmaker to portray this drama honestly and non-manipulatively, trusting her audience to interpret the complicated heartbreak of Autumn’s predicament without having to explain it to them.
  13. Minari works quietly and methodically, embracing its lush rural setting with striking glimpses of its characters, alone against vast and empty landscapes. Chung’s directing feels drawn from memory, the scattered and sparkling quality of recollections, carefully assembled. It’s perhaps why every second rings so true.
  14. It’s brainy, sure, but the emotional experience is what’s most vivid. The plot beats may confound you, but the feelings behind them are crystal-clear.
  15. Zeitlin has a gift for casting vivid new talent, and for creating images that read like fevered visual poetry: gorgeously saturated tableaus of the natural world, all luminous light and color. But he also tends to strip away nearly every necessary aspect of plot and character development in his strenuous pursuit of whimsy.
  16. If the subject ultimately proves to be more slippery and diffuse than in the duo’s previous films (The Invisible War addressed sexual assault in the military, The Hunting Ground, campus rape), it also never feels like less than required viewing: brutal, heartbreaking, and — with or without Oprah’s co-sign — utterly necessary.
  17. As satire, Woman‘s first two acts are fun but broad: a winky, wildly stylized slice of girl-powered revenge porn. And Mulligan, who’s always given smart, delicately shaded performances in movies like Far from the Madding Crowd and An Education (she was great in 2018’s underseen Wildlife) is an entirely different animal here: furious, damaged, ferociously funny.
  18. The plot, admittedly, is scattered; this is par for the course for Decker, but in a movie with more conventional bones, the shagginess sticks out. Shirley gorgeously invokes its subject’s style, however, via a disarmingly off-kilter score; handheld camerawork that gets intimate with characters’ psyches; and, most strikingly, a series of unforgettable images that intensify this study of female awakening and decay.
  19. Ironbark might not be a great film in the end, but it is a satisfying good one — a story that’s at its best when it colors outside the black and white (or Communist red, as it were) lines of war and hones in on the real, fallible men and women who fight it, one quiet inglorious step at a time.
  20. If Paige and Keogh weren’t both such indelible, fiercely charismatic characters, the whole thing could easily fall apart. But their presence, and Bravo’s singular vision, give Zola a sort of electric buzz: the thrill of watching something stranger than fiction, and somehow better than true.
  21. Instead of melodrama, the movie finds its traction in parsing out micro-aggressions and mood: a sort of devastating slow-drip portrait of the power structures that allowed a man like Weinstein to happen — and keep more like him in place, untouched by any justice a hashtag can reach.
  22. You sense Simien’s pushing into uncharted territory. Yet his distinctive gifts as a director are increasingly relegated to the margins, propelling a narrative that works better in theory than execution.
  23. You wish you’d seen more of this Taylor a long time ago. But that’s the point of the whole movie, maybe: She was always there; it just took her 30 years to get to here.
  24. The Gentlemen is nothing if not a callback to the Locks of yesteryear, star-stacked and defibrillated with enough juice to jolt a gorilla out of cardiac arrest.
  25. Banter and bullets is the action-movie MO, and the duo at the center of it hardly seem to have to stretch to spread their bickering charm on thick. By the shock-and-awe climax, though — when everything but the goatee pretty much goes up in flames — other things have worn thin.
  26. She’s (Stewart) just another action hero — albeit a smart, flinty one with exceptionally good hair — learning the hard way that under the sea, as in space, no one can hear you scream.
  27. The Grudge is overly reliant on jump scares and the sheer number of characters involved here means that some are thinly-drawn, though the crackerjack cast of actors breathes at least some life into their respective parts. The real asset here — as well as the movie’s main likely problem for many viewers — is its bleak tone.

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