Entertainment Weekly's Scores

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For 7,798 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 2.1 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 7798
  2. Mixed: 2,080 out of 7798
  3. Negative: 760 out of 7798
7798 movie reviews
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  1. Daybreak
    The snappish domestic infighting is effectively staged, yet beneath its ''raw'' atmosphere Daybreak traffics in pop-sociological clichés.
    • 60 Metascore
    • 75 Critic Score
    Meatballs
    More Murray-centric scenes were shot after a test screening showed that little without him worked.
  3. Juice
    The film is an inflammatory morality play shot through with rage and despair.
  4. The Perfection
    It delivers. The Perfection is a pure hit of twisted, absurd camp catnip.
  5. Trumbo
    How could a movie about a great screenwriter have such a terrible screenplay?
  6. The Importance of Being Earnest
    The antics are wacky -- but far from Wilde.
  7. Together
    To contextualize the story's lack of subtlety, it helps to see these casting choices as ongoing penance for the time when, as a boy, Chen denounced his own father to the Red Guard.
  8. Reconstruction
    Features a supernatural twist that is merely okay, but the film's mood of fractured anxiety and longing made me eager to see what the director, Christoffer Boe, does next.
  9. Signs & Wonders
    Jonathan Nossiter's second feature (after the intricate and haunting ''Sunday'') strikes unnerving chords of mystery and dismay as it fuses the sinister, jump cut dislocations of a metaphysical thriller like ''Don't Look Now'' with a pain soaked meditation on love, guilt, marriage, and adultery.
  10. The Clearing
    The Clearing is what's known in the biz as an alternative for adult moviegoers. Which is to say the film is a performance-driven drama devoid of special effects and loud noises. On the contrary, it's a meditation on midlife weaknesses and compensation.
  11. The Many Saints of Newark
    Saints can't be what Sopranos was — without the time or the ones who've been lost to tell it, fuggedaboutit. But for a hundred-something minutes, it feels close enough to coming home again.
  12. Mary Queen of Scots
    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.
  13. Stealing Beauty
    Can Tyler act? Impossible to say. Bertolucci's neatest trick is to have constructed the movie around Tyler's gawky unself-consciousness.
  14. Allied
    There’s something decidedly old-fashioned about the new Brad Pitt-Marion Cotillard spy thriller, Allied. And that ends up being a good thing.
  15. Dredd
    Paul Leonard-Morgan's thumping techno soundtrack is thrilling. And Urban manages to give a credibly wry performance using little more than his gravelly, imitation-Eastwood voice - and his chin.
  16. The Adjustment Bureau
    An enjoyable piece of hokum – your basic doom-laden parable of metaphysical sci-fi mind control, only with a surprise romantic sparkle.
  17. Scream
    While the new movie is laced with Easter eggs and homages to the late master, it doesn't build its sequences with the same meat-and-potatoes solidity as Craven did. Bettinelli-Olpin and Gillett don't have those chops yet.
  18. The White Countess
    I don't think it's too much of a stretch to say that this oasis of romance amid the turmoil of Shanghai represents the way that Merchant and Ivory, for 40 years, saw themselves: as a sanctuary of calming, life-size taste in a movie culture grown coarse. It was often far from perfect, but I'll miss that sanctuary.
  19. Lightyear
    Kids will love Lightyear. Adults will enjoy it. The only reason it falls short of what we've come to expect from Pixar is that they've set their own bar so damn high.
  20. Overlord
    A surprisingly well-made mash-up of old-fashion war movie tropes and proudly disgusting horror-flick shocks. It’s a ton of fun.
  21. Good Boys
    In the end, it’s their fundamental goodness — not all the wicked, winky “bad” — that’s easily the best thing about Boys.
  22. Notorious
    Notorious makes the death of Biggie Smalls look like a tragic mistake, instead of the outgrowth of a culture devoted to selling the fantasy of who's the biggest man.
  23. Motherless Brooklyn
    If it all sometimes feels trapped in the amber of his intentions, Brooklyn still casts a quiet sort of spell: a meticulously, lovingly made mood piece, full of empathy for the ones who can’t speak — at least not always the way they want to — for themselves.
  24. The Whale
    Here it often feels clumsy and maddeningly inconsistent, stranding Fraser in a melodrama undeserving of his lovely, unshowy performance. Whatever he wins for The Whale — and early prizes have already come — he deserves. The rest is just chum.
  25. Warm Bodies
    At this point in the actor's career, it is pretty well impossible to tell when Malkovich is camping it up, or just being John Malkovich. Under the end-of-civilization circumstances of Warm Bodies, he's just the right guy for the job.
  26. Keeping the Faith
    Commits sins of romantic comedy as well as sins of spiritual tragedy.
  27. With All Deliberate Speed
    Sober and honorable, yet it's far from searching.
  28. Sierra Burgess Is a Loser
    Even if you’ve seen it all before, Sierra Burgess will still satisfy your end-of-summer sweet tooth.
  29. The Wedding Singer
    As a romantic comedy, the picture is pleasant, predictable, and utterly weightless.
  30. A Perfect Day
    Del Toro’s low-key resignation gives the film what power it has, but the female characters (played by Mélanie Thierry and Olga Kurylenko) are disappointingly thin.
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