Entertainment Weekly's Scores

For 6,327 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 2.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Lords of Dogtown
Lowest review score: 0 In the Land of Women
Score distribution:
6327 movie reviews
  1. One imagines the real John Callahan, who died in 2010, would have appreciated a film that wasn’t afraid to call him an a—hole
  2. Apart from the film’s occasional spasms of rousing, lightning-choreographed ultraviolence (a confrontation with an apartment full of date-raping finance bros is particularly great), the film is too enamored with its own morose righteousness to be very engaging.
  3. A shiny-bright jukebox musical with a heart of gold and a plot of pure polyester, Mamma Mia! Here We Go Again works hard to be the feel-giddy movie experience of the summer. And it mostly succeeds in its own glittery, aggressively winsome way.
  4. It’s the kind of pure, straight-no-chaser pop fun that not only keeps taking your breath away over and over again, it restores your occasionally shaky faith in summer blockbusters.
  5. Eventually, it’s Wealth‘s inherent too-muchness that undoes its own best intentions.
  6. Eighth Grade is an absolute delight that stings with truth. It’s heartbreaking, heartwarming, and a total charmer.
  7. The harmless high jinks all go down easily enough without being particularly memorable or pushing the art form past the expected.
  8. No one churns out big-budget action mediocrity these days as regularly as Dwayne Johnson. So now, just three months after his giant gorilla-a-go-go Rampage, we have Skyscraper — a film that suggests what would happen if you took The Towering Inferno and Die Hard and stripped them of the qualities that made both work.
  9. Woman could use some of the quieter character nuance of a movie like last year’s "Wind River," another fact-based drama that reflected the struggle of indigenous people with a sensitive, unvarnished kind of naturalism; White’s well-meant version is undoubtedly incomplete, and gilded with a certain amount of Hollywood silliness.
  10. After about 10 minutes, The Legacy of a Whitetail Deer Hunter feels borderline promising. After 80, it feels like a blown opportunity.
  11. Whitney feels like the kind of film anyone who cared at all about her should see: the fullest portrait yet — if one that will always, inevitably fall short — of a singular artist and human being who may have eluded understanding in the end, but still gave the world far more than she ever got back.
  12. By trading in all its intrigue and emotional subtleties for the gotcha moment it’s clearly been waiting for, Tree wins the battle but loses the war.
  13. Where the Purge movies could have been about the slow — and then terrifyingly rapid — dismissal of morality and social norms, like "High-Rise," it chooses instead to skate through those haunted house scares and clunky symbolism.
  14. Exploding with infectious originality, Boots Riley’s Sorry to Bother You may be the most wonderfully bizarre film of 2018.
  15. The best documentaries reveal the ways in which truth can be stranger (and wilder and weirder) than fiction. And director Tim Wardle’s stunning and tragic Sundance sensation, Three Identical Strangers, is stranger (and wilder and weirder) than most.
  16. You more or less know what this soft-drink-sponsored movie is going to be as soon as the lights start to dim. What makes it worth recommending is that it ends up being just slightly more than that by the time the lights come back on.
  17. It’s a slower (at times probably too slow) and more contemplative movie than its predecessor, but it’s no less haunting, thanks to unshakable performances from Ben Foster and Thomasin McKenzie.
  18. Ant-Man and the Wasp is working too hard to look unconvincingly relaxed.
  19. It all bumps along, as road trips do, through silliness and boredom and occasional, unexpected charm. But Feste’s story never really gets the rhythms right, and Boundaries finally reaches the end of the road, feeling like nothing so much as a missed opportunity.
  20. Day of the Soldado is our generation’s Rambo: First Blood, Part 2, a half-mad sequel transforming a traumatized political parable into a fantasy of all-American murder gods.
  21. Sadly, it isn’t a great movie. It’s a disappointingly mild period thriller that’s light on thrills. Even Paul Rudd, one of the most likable actors in Hollywood, can’t rescue it.
  22. The problem with the film’s buckshot “this-happened-and-then-that-happened” storyline is that Connolly keeps hurtling ahead from scene to scene trying to touch every base in Gotti’s life of crime without every letting any one moment breathe long enough for it to resonate.
  23. The true strength of the film lies in Zoey Deutch’s magnetic performance. It’s impossible to watch this film and not come to the conclusion that the actress (Vampire Academy) is a soon-to-be major star, as soon as she hits on a major project that makes use of her effortless humor and charisma.
  24. Tag
    It’s a ridiculously raunchy and very, very sweet comedy about staying connected to the most important people in your life.
  25. Neither as satisfying as the remake of "Shaft" nor as objectionable as the remake of "Death Wish," the second coming of Superfly wants to tap into that same ’70s grindhouse allure and put a similarly slick modern gloss on it. The results are pretty mixed.
  26. A dizzy, fizzy comedy with occasional flashes of real wit.
  27. Bird’s made the weirdest Pixar movie ever, revolutionary and retro, an anti-authoritarian ode to good parenting.
  28. Hereditary doesn’t reinvent horror cinema so much as polish the cobwebs off of its classics, strip them for parts, and refashion them into something that feels terrifyingly fresh and new.
  29. It’s like a security blanket for our troubled times.
  30. It is not a thriller nor even, really, a mystery. Instead, much like a play, it forces you to pay attention to the nuances of each of the actors’ (very well-done) performances, to sit with the characters quietly as if in a sitting room too formal to do much else.

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