Entertainment Weekly's Scores

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For 7,797 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 2.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 13th
Lowest review score: 0 Wide Awake
Score distribution:
  1. Positive: 4,958 out of 7797
  2. Mixed: 2,079 out of 7797
  3. Negative: 760 out of 7797
7797 movie reviews
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  1. Shang-Chi and the Legend of the Ten Rings
    They'd be crazy not to give Meng'er Zhang, as Shang-Chi's ferociously watchable sister Xialing, her own spin-off, and Awkwafina, who spends at least a third of the movie in a fanny pack and lime-green parachute pants, polishes her sardonic slacker M.O. to a high one-liner shine.
  2. Reminiscence
    Writer-director Lisa Joy (Westworld) seems to be aiming for an Inception-style metaphysical mind-bend, with the sci-fi jolt of Minority Report and a bleak splash of Waterworld. But her intentions get lost in some cloudy marine layer in between, sunk by hammy hard-boiled dialogue and a story that leaves logic at the door.
  3. Respect
    It isn't nearly as compelling a movie as Franklin was a singer, but while the film never fully captures her brilliance, it does at least effectively allude to it.
  4. Vivo
    Have tissues ready, and thank Vivo for teaching the little ones a valuable lesson: Do not go into a swamp alone, or you will meet a tree-size python who sounds just like Michael Rooker.
  5. Val
    The result is undoubtedly a canny mediation on the vagaries of fame, but it feels more intimate and essential than that: a lifetime of searching and self-regard distilled, somehow, into a state of grace.
  6. Free Guy
    In a genre where winky self-awareness has become standard-issue, Free might have come off as manic and hollow; instead, it has fun having a heart.
  7. The Green Knight
    In a way, the movie feels almost like Marvel antimatter, an auteur's willful response to whiz-bang emptiness and Infinity Stones. Knight is ultimately a tale of honor though, and a deeply moral one — inscrutable, but haunting too.
  8. The Suicide Squad
    The script, accordingly, herks and jerks along with a sort of forced-festive glee, its mounting body count buffeted by goofball banter and pounding soundtrack cues. A good half of the jokes don't land, but unlike his predecessor's joyless slog, Gunn's version at least celebrates the nonsense.
  9. Snake Eyes: G.I. Joe Origins
    Unfortunately, director Robert Schwentke (RED, R.I.P.D.) uses a lot of razzle-dazzle, and too often the quick cuts and close-ups obscure the action rather than highlight it.
  10. Old
    Old comes close to seeing its metaphysical mystery through. In the end, though, it settles for something more like supernatural camp, with telegraphed twists and jump scares.
  11. Space Jam: A New Legacy
    Algorithmically speaking, it's no slam dunk.
  12. Annette
    Is Annette a farce, a metaphor, a noir meditation on fame? Only God and maybe the Maels know for sure. But like so many of the best and strangest moments that festivals like this bring, it's nearly impossible to witness it all and not walk away feeling altered (irrationally, emotionally, chemically) in some way.
  13. Black Widow
    If Widow, with its winky one-liners and spandexed catsuits, is purely pop feminism, the movie's female gaze still reads like more than a cynical marketing ploy; it's one step closer to real, messy life, Marvel-size and amplified.
  14. F9: The Fast Saga
    F9 sure sounds like a lot of fun. Why is it only a little fun?
  15. Luca
    The story's bright swirl of Pixar pixie dust, jangle soundtrack, and gentle lessons on accepting otherness and learning to move past fear feel like a temporary passport: a sweetly soulful all-ages dip in la dolce vita.
  16. Roadrunner: A Film About Anthony Bourdain
    Roadrunner, steeped in the jittery punk-rock style and verve of its famously omnivorous muse, registers as more than a requiem or a postscript. It feels like an essential document­, created in the radical no-reservations spirit in which he lived
  17. Cruella
    Cruella comes off as a curious animal, eager to change its spots and trying a little bit of everything along the way.
  18. In the Heights
    For all its rich tapestry and radiant ingenues, it's that casual centering of so many marginalized voices that makes the movie feel, in its own way, revolutionary: a Technicolor marvel as heady as Old Hollywood, and as modern as this moment.
  19. The Killing of Two Lovers
    With [Crawford's] proud, wounded performance at the center, the film's raw vérité style and unforced naturalism do more than set a mood; in its best moments, it breaks your heart.
  20. Riders of Justice
    A kind of popcorn movie that doesn't just let wit and storytelling serve as the garnish for big-bang action, but makes that its actual priority.
  21. Dream Horse
    A quirky bootstraps narrative of improbable small-town ambition and extremely regional accents designed not to rush its modest, affable charms.
  22. Army of the Dead
    Army of the Dead grills its cheese to a crisp, but Bautista adds some healthy flavor. His headshots never miss your heart.
  23. A Quiet Place Part II
    Once again, Krasinski manages to render relatively straightforward tasks — nursing a baby, tuning a radio, walking through a train car — harrowing; dialogue, by necessity, is rarely wasted, and his actors feel far more sympathetically human and real than most meat-puppet horror chum.
  24. The Woman in the Window
    The final 30 minutes of the film descend into something so bloody and outrageous it nearly works as camp. Still, it's hard not to think of the better movie buried somewhere in Window's odd feints and histrionics, if only its makers had trusted themselves — or been trusted — to tell it.
  25. Oxygen
    A film literally made from thin air, the French thriller Oxygen (on Netflix starting Friday) is a neat little sci-fi nightmare; a cool-toned exercise in claustrophobia that nearly pulls off the innate improbabilities of its high-concept nonsense.
  26. Those Who Wish Me Dead
    Unlike Remorse, and other bloody misfires out this month, Dead isn't particularly ugly or offensive; it's engaging enough and sometimes almost unintentionally fun. For a star who so rarely chooses to be on screen these days though, it feels like another kind of mortal sin, at least in Hollywood: forgettable.
  27. Wrath of Man
    Wrath is just another loose bag of lizard-brain thrills and wood-block dialogue: too ugly to be camp, too grimly familiar to feel new.
  28. Things Heard & Seen
    The movie marches on in grim, silly lockstep to its themes: a compendium of jump-scare terrors almost exhaustively heard and seen, but rarely calibrated to make you feel much of anything at all.
  29. Tom Clancy’s Without Remorse
    Vengeance is wrought without remorse and even less sense. The only sure thing, judging by the promise of a post-credits scene, is a sequel.
  30. Mortal Kombat
    Fatalities are the closest we get to the fun of playing a Mortal Kombat game, but future adapters would be better off realizing that video games are art precisely because of their unique gameplay, and not because of the silly lore that stitches cutscenes together.
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