Entertainment Weekly's Scores

For 6,462 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 2.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Meek's Cutoff
Lowest review score: 0 House of the Dead
Score distribution:
6462 movie reviews
    • 55 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.
  1. The real magic of the movie comes in its echoes of the first — namely, Black’s performance as the Goosebumps mastermind.
  2. 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."
  3. 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.
  4. Everett’s utterly fantastic performance as Wilde slightly exceeds his grasp as a first-time filmmaker.
  5. He (Hill) makes Mid90s resonate with universal poignancy and electric energy; his kids are the best, messiest kind of real, and they’re alright.
  6. 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.
  7. Gyllenhaal, bright-eyed and brittle, brings her signature intensity to the role, though Lisa’s true inner world remains murky; it’s never quite clear if she’s just deeply unhappy or certifiably ill. Instead, the movie remains an intriguing but ambiguous portrait of a flawed, fascinating woman who knows herself either too well or not at all
  8. One of the great surprises of Matt Tyrnauer’s giddy glitterbomb of a documentary about New York’s infamously Caligulan Me Decade hot spot is discovering how much of our culture (the drugs, the music, the sexual liberation) is wrapped up in one nightclub that existed for a mere 33 months.
  9. In The Great Buster, Bogdanovich has provided a brilliantly enthralling primer.
  10. Escobar’s story hardly lacks for plot points, and director Fernando León de Aronaoa (Mondays in the Sun) hits them all obligingly, if broadly. What he doesn’t carve out much room for is richer character motivations or context.
  11. It’s about perseverance, compassion, and empathy.
  12. Venom isn’t quite bad, but it’s not exactly good either. It’s noncommittally mediocre and, as a result, forgettable. It just sort of sits there, beating you numb, unsure of whether it wants to be a comic-book movie or put the whole idea of comic-book movies in its crosshairs.
  13. Despite its Irish setting, Black ’47 feels more than anything like an American Western, what with its shades-of-grey morality and almost Biblical quest for payback. Like Clint Eastwood’s Bill Munny in "Unforgiven" or John Wayne’s Ethan Edwards in "The Searchers," Martin is a silent avenger pushed to do things he doesn’t want to do but also can’t ignore.
  14. All About Nina works best as a showcase for Winstead, even if she’s performing material we’ve already heard before.
  15. Reinaldo Marcus Green’s quiet drama still carries its own kind of big stick, even if the story’s impact is ultimately muffled by his meditative, low-key style.
  16. Smallfoot has its own silly, beastie charm.
  17. In the end, the answer may be only slightly deeper than “because it’s there”, but for 100 nerve-racking minutes, Free Solo brings us one man’s suicidal quest with sympathy, grace, and a ton of adrenalin.
  18. There’s a kinetic energy in Levinson’s telling, and real catharsis in a riotous final sequence that feels all the more triumphant for the unlikeliness of such a bloody, happy ending.
  19. Excellent performers are wasted, especially the criminally underutilized Mandy Patinkin and Annette Bening, both of whom appear in just bit parts. With far too much confidence but nothing to say, Life Itself lives up to the college-freshman affectedness of its own title.
  20. Love, Gilda is penetrating, painful, and personal.
  21. Black, no surprise, steals the show, manically hamming it up like Harry Houdini on laughing gas, while Roth tries to keep the breakneck pace of his phantasmagoria going. As someone who was growing bored with Roth’s gory shockfests, I say: “Welcome to the kiddie table, Eli.”
  22. What sets it a notch or two above rote familiarity is its cast, featuring a charismatic, white trash-with-a-heart-of-gold turn from a mulletted Matthew McConaughey and a naturalistically low-key performance from newcomer Richie Merritt.
  23. As the tone wobbles between absurdity and tragedy, it also starts to shift toward something deeper and more bittersweet than mere midlife ennui. A lot of that is down to Mendelsohn, an actor who seems born to embody Holofocener’s kind of hero: weary and wounded but still putting it out there, a beautiful mess in progress.
  24. By the time the climactic act of violence finally arrives, there’s barely enough patience left in the viewer to feel any real sense of catharsis or liberation. Just exhaustion.
  25. It’s a fully immersive experience that begs to be anchored by someone who’s lit from within by blinding neon, but who also, amidst all of the nutty squalls of genre scuzz can still wear his broken heart on his sleeve. And, these days, that list is a short one. In fact, there’s really only one name on it. Thankfully, Cosmatos found him.
  26. Kidman, to her credit, goes all in, but it’s hard to ignore the neon sign over her head that keeps flashing “See? I’m Acting!”
  27. The Predator isn’t a dumb movie exactly. But it’s not a smart one either. What it is, is something uncomfortably in between: a satire of a franchise that was already in on its own macho joke.
  28. Can You Ever Forgive Me?’s premise is so low-key outrageous, it would almost have to be true. And it is: a shaggy, endearingly dour portrait of the kind of true-life eccentric New York hardly seems to make anymore.
  29. Sisters gets sadder and more eccentric as it goes along, and the ending actually tugs sweetly on a few heart strings, though it’s also hard not to wonder why exactly, with all the Westerns already in the cannon, this movie got made — other than to give its crew of excellent actors a chance to put on their boots and ride off, cock-eyed and whimsical, into some kind of sunset.

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