Entertainment Weekly's Scores

For 6,517 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 Nurse Betty
Lowest review score: 0 Boys and Girls
Score distribution:
6517 movie reviews
  1. The Mule fits the 88-year-old Eastwood perfectly. Not just because there probably aren’t many roles for actors of his age out there, but also because its lack of judgment makes sense for a star who’s always been as willing to play anti-heroes as heroes.
  2. Spoonfuls of sugar always help the movie magic go down; if only this Mary had gotten a necessary twist of lemon, too.
  3. Wan, a director who’s proven himself to be a can’t-miss ace regardless of genre (from the horror formulas of The Conjuring and Insidious to the big-budget tentpole mayhem of Furious 7) seems to finally be out of his depth. He’s conjured an intriguing world, but populated that world with dramatic cotton candy and silly characters, including a hero who’s unsure if he wants to make us laugh or feel — and winds up doing neither. Pass the Dramamine.
  4. Despite all of the film’s retro-future eye candy, it never quite sweeps you out of your seat and transports you someplace new. It’s a squeaky salvage job that could have used a fresh dose of oil to make it hum.
  5. As Bird time-jumps between the claustrophobic action of the house and a desperate sort of jailbreak, director Susanne Bier (The Night Manager) keeps the mood taut and defiantly in the moment.
  6. What keeps the film from feeling like period-piece amber, all whispered alliances and wiggery, is the keenly feminist sensibility of first-time director Josie Rourke (her background is largely in theater) and the fierce charisma and complicated humanity of its two leads, sovereigns till the end.
  7. For a film that invites so much self-aware chortling over franchise in-jokery, you feel Spider-Verse has missed something essential from its own screen history.
  8. Corbet doesn’t seem as interested in the answers to the provocatively glib questions he raises as he is in creating a cynical riddle cloaked in style. No doubt some will find all of this to be a deep meditation on the pop-industrial complex, but from where I was sitting, it just felt like empty camp.
  9. What kind of Grinch would I be to berate a new cheesy holiday movie about two siblings going on a Christmas-related adventure in which, I repeat, Kurt Russell plays a hot Santa? Make some cocoa for the family, and spike yours if you have to, but remember what the holiday is about: watching mediocre, predictable movies with the people you love.
    • 32 Metascore
    • 50 Critic Score
    On all fronts, it strives to twist the Robin Hood story into something more provocative, but ultimately it’s a garbled, hollow mess of attempts at relevancy.
  10. Kids could still watch the peerless 1966 original, though their blooming little cortexes will probably respond to the shiny-bright novelty here — and be newly spellbound by a tale almost as old as color television, but still evergreen.
  11. In a world that seems to get uglier every day, this movie’s gentle heart and mere humanity feel like a salve.
  12. It’s entertaining enough for popcorn — and gratifying, too, to watch these smart, strong women step into roles they’re so often left to support from the sidelines, while men have all the contraband fun. If only the execution of it didn’t feel like such a crazy-quilt patchwork of other, better films, and so jaggedly stitched together.
  13. Creed II slavishly follows the sentimental-palooka Rocky template as if it were a sacred text. Still, it doesn’t make those old rope-a-dope tropes any less effective.
  14. 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.
  15. 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.
  16. Unlike so many recent horror movies, The Clovehitch Killer is patient with its thrills, almost excruciatingly so.
  17. 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.
  18. 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.
  19. 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.
  20. There might not be a more gorgeous-looking movie this year than Fantastic Beasts: The Crimes of Grindelwald.
  21. A surprisingly well-made mash-up of old-fashion war movie tropes and proudly disgusting horror-flick shocks. It’s a ton of fun.
  22. 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.
  23. 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.
  24. 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.
  25. The rare quiet moments in Nutcracker suggest Foy might be a real movie star. Let’s give her a real movie and find out.
  26. 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.
  27. 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.
  28. 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.
  29. Boy Erased is the kind of topical, well-intentioned movie that makes you wish it was slightly better than it is.

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