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
  1. Kore-eda is working up to something else, steering the story he’s built so carefully toward an utterly unexpected detour. As much of what we think we know unravels, the film becomes not just an enjoyable, intermittently poignant portrait of imperfect people but a profound meditation on the meaning of family.
  2. If Eternity is hardly a completist portrait — or even a narratively satisfying one, really — it’s still gratifying to watch in other ways. Not just for the pureness of Dafoe’s performance but for the way it lets art be both celebrated and unexplained, still as much a mystery as the man who made it.
  3. Unlike so many recent horror movies, The Clovehitch Killer is patient with its thrills, almost excruciatingly so.
  4. Two of the chapters stand with some of the best work the merry-prankster filmmakers have ever done, while the rest are varying degrees of… fine.
  5. Ambitious, beautifully animated, and clever to a fault, Ralph Breaks the Internet breaks free of the pitfalls of most sequels by never forgoing heart for the sake of bigger franchise pyrotechnics.
  6. At its heart (and it’s a big corny heart, for sure), the film’s message is one of unconditional love and embracing family wherever you find it. It’s hard to argue with. Especially when it’s served up with such spiky laughter-through-tears sweetness.
  7. There might not be a more gorgeous-looking movie this year than Fantastic Beasts: The Crimes of Grindelwald.
  8. A surprisingly well-made mash-up of old-fashion war movie tropes and proudly disgusting horror-flick shocks. It’s a ton of fun.
  9. Now a miscast Claire Foy adopts the hacker vigilante’s black leather and badass avenging-angel attitude for The Girl in the Spider’s Web — a disappointingly safe, by-the-numbers action-thriller.
  10. But for most of the film, Parker’s Vivienne is bland and forgettable. A scene where she sleeps with the drummer in her backup band is supposed to be titillating but instead feels perfunctory.
  11. Maybe unavoidably, the movie that’s emerged from all that has the distinct whiff of compromise and art by committee — the opposite, in other words, of nearly everything Queen’s flamboyant, defiant frontman stood for.
  12. The rare quiet moments in Nutcracker suggest Foy might be a real movie star. Let’s give her a real movie and find out.
  13. More narratively straightforward (but also masterfully edited in F for Fake style), the documentary takes its title from a Welles quote about the fickle hypocrisy of the movie business and about his other favorite subject: himself. And that quote couldn’t have been more spot-on for a man who was most appreciated most only when it was too late.
  14. The Other Side of the Wind (both the movie and the movie-within-a-movie) is a hypnotic, magical mess of a film. It’s a lot of story and not enough of one. Still, there are shots that are so haunting and beautifully composed that you want to get out of your seat and take up residence in them.
  15. By the time the narrative comes to Colvin’s greatest get — she was essentially the first Western journalist to get inside Homs and refute Syrian President Bashar al-Assad’s bold-faced lie that he wasn’t bombing his own people into oblivion — the price of that sacrifice, and the power of her story, feels finally, fully real. Whatever her private battles, War works hard to be the public reckoning her work deserves.
  16. Boy Erased is the kind of topical, well-intentioned movie that makes you wish it was slightly better than it is.
  17. Viper Club is an earnest and often engaging film that’s undeniably heartfelt. It’s capital-I important and timely. But without its star’s passionate, nuanced performance, it would run the risk of being a bit generic and forgettable.
  18. Every gag in this movie has already been done before, and better, presumably by one or both of the earlier Johnny English films. I promise that I will never force myself to find out.
  19. The Guilty is an absolute workout that pulls the rug out from under you just when you think you have it figured out. The last ten minutes will keep you rattled long after you’ve left the theater.
  20. It’s likely to be enjoyed more by audiences unfamiliar with the original.
  21. Few filmmakers can turn a mundane town council meeting about a library bench into a meditation on patriotism and civic responsibility the way Wiseman can. Let’s hope his camera continues to roll for years to come.
  22. Wildlife is confident and patient and mature. It may be a small film, but its power is massive. Especially its very last shot, which is so devastating it has the force of a sucker punch.
  23. While it’s loaded with excellent ensemble performances and flashes of real poignancy, it can’t seem to help itself from occasionally jack-knifing into heavy-handed wrong turns that can play as clichéd or phony. It’s half of a great movie.
    • 58 Metascore
    • 67 Critic Score
    The film wrongfully substitutes abrupt violence for anything truly provocative, squandering the promise of its early scenes with a disjointed third act and pat ending that renders its satire toothless.
  24. The real magic of the movie comes in its echoes of the first — namely, Black’s performance as the Goosebumps mastermind.
  25. Netflix feels like a proper home for a film this idiosyncratic. After all, you’ll know within 30 minutes stumbling onto it whether you want to keep following its unsettling descent into blood-soaked madness or pick up your remote and head over to the relatively sunnier and safer comforts of "Broadchurch."
  26. Taken together, the film is kaleidoscopic, sober, and also a bit glib. 22 July is exceptionally choreographed and tough to sit through, but it also leaves an uneasy, bitter aftertaste knowing that the movie is probably exactly the kind of continued attention a deranged narcissist like Breivik would have wanted.
  27. Everett’s utterly fantastic performance as Wilde slightly exceeds his grasp as a first-time filmmaker.
  28. He (Hill) makes Mid90s resonate with universal poignancy and electric energy; his kids are the best, messiest kind of real, and they’re alright.
  29. It’s British stage actress Erivo who feels like the real star. Her steely charisma and gorgeous powerhouse of a voice (Goddard takes every plausible opportunity to let her loose on a classic 1960s songbook; can you blame him?) is what gives the movie not just a different kind of heroine, but a heart.

Top Trailers