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. Outbreak
    For today’s filmmakers, the addiction to kinetic overkill has become a disease in itself.
  2. The Killing of a Sacred Deer
    Farrell delivers his lines with the same replicant monotone he used in The Lobster. And Kidman, the only cast member who expresses recognizably human emotions, extends her recent hot streak. But even she’s not enough to give this head-scratcher any real life.
  3. Bohemian Rhapsody
    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.
  4. The Trip to Spain
    How many times can you watch two middle-aged men impersonate Michael Caine? Your answer to that question will determine whether you should tag along with Steve Coogan and Rob Brydon on their third and latest fictionalized (and largely improvised) eating tour of Europe.
  5. Godard Mon Amour
    Michel Hazanavicius’ new film, Godard Mon Amour, tackles that period in Godard’s life on and off the screen — and does it in a dismissively light-hearted way that I’m sure the auteur himself loathes.
  6. How to Talk to Girls at Parties
    What saves it is the casting (Fanning especially is fantastic, both winsome and wonderfully strange) and Mitchell’s obvious fondness for his milieu. His giddy, knowingly camp direction has a sort of glitter-stick DIY spirit that keeps the movie aloft long after the story itself has run out of road.
  7. The Square
    Only half of these setups go anywhere very interesting. The rest just feel like button-pushing stunts that, like so much of the merry-prankster conceptual art Christian champions, zero in on your intellect rather than your gut. Or, better yet, your heart
  8. Apostle
    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."
  9. Charlie's Angels
    This new Charlie’s Angels gets very crush-y between silly excess and striving ambition, but even the sugar is flammable.
  10. Sherlock Gnomes
    Sherlock Gnomes doesn’t quite have the originality and spark to make it a pop-culture phenomenon. Yet it’s still an enjoyable family adventure with a solid message.
  11. The Man Who Invented Christmas
    Again, we know the beats by heart, but there’s a reason A Christmas Carol has been told every which way from Muppets to Disney. You can’t help getting swept up in it, even if you’ve heard it all before.
  12. What's Eating Gilbert Grape
    This is one nowhere boy who commands your attention.
  13. The Upside
    The racial politics feel almost willfully retro, but the actors’ charisma cuts through: Forced to work strictly from the neck up, Cranston is just the right amount of gruff; Hart, aside from a deeply unnecessary catheter scene, gives a gratifyingly prickly and vulnerable performance. Somewhere beneath this passable-enough Upside, there’s a better, sharper movie for them both.
  14. The General
    The General, for all its panache, is ultimately an unsatisfying movie. The reason, I think, is that Boorman’s slightly puerile romanticization of Cahill keeps getting in the way of the reality he’s showing us.
  15. It Could Happen to You
    It Could Happen to You is a syrupy-sweet package undiluted by wit, tartness, observation. It would be easier to enjoy the stars in Charlie and Yvonne’s eyes if the movie didn’t keep patting them on the back.
  16. Chaos Walking
    Mikkelsen has played iconic villains before, and while Prentiss isn't nearly as memorable as Hannibal Lecter or Le Chiffre, he still manages to imbue Chaos Walking with a sense of danger.
  17. Where'd You Go, Bernadette
    Linklater, who brought such subtle, generous feeling to films like Boyhood and the Sunset trilogy, feels somehow miscast as the steward of Bernadette‘s willful eccentricities.
  18. 12 Strong
    For a movie produced by red-meat action maestro Jerry Bruckheimer and starring Thor himself as the face of camo-clad vengeance, 12 Strong somewhat surprisingly manages to fall (just barely) on the nuanced side of the scale. Even if you can feel the film’s director, Nicolai Fuglsig, battling with himself to get it there.
  19. TRON
    Jeff Bridges seems to be the only one having fun, playing a videogame designer who gets sucked into a Day-Glo world of his own creation. It’s like Alice in Wonderland acted out on a kids’ Lite-Brite toy.
  20. Fried Green Tomatoes
    An extended framing device set in the present day, with Kathy Bates as a put-upon housewife who becomes the fierce, confident, new-and-improved ”Tawanda,” is the sort of ghastly idea that gives feminism a bad name. The movie left me wishing its sterling cast — including a radiant Jessica Tandy — had been better served.
  21. Night and the City
    For all its promising elements, Night and the City confronts us, yet again, with one of the most dismaying paradoxes in contemporary movies: that the actor who once seemed the heir to Brando, Clift, and, yes, Widmark — the actor who once got so far inside his roles that he just about detonated the screen — now plays characters who don’t seem to have any inner life at all.
  22. Loving Pablo
    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.
  23. Manhunt
    Still, there are enough glimpses of the old master peeking through that it’s hard not to have a bit of a good time. It turns out that even second-rate (okay, third-rate) Woo has its moments.
  24. Under Siege
    In the brutally efficient Under Siege, Seagal, with his soft-spoken nihilist charm, attempts to move beyond limb-snapping exploitation and into epically scaled mainstream thrillers. He succeeds — but only because this sort of slick action bash doesn’t require a star with much personality. At this point, personality might only get in the way.
  25. Apocalypse Now Redux
    I don’t think Apocalypse Now Redux is superior to the 1979 version. Quite the contrary, it’s draggier and more portentous, more inflated with its own importance.
  26. Presumed Innocent
    The convolutions of Turow’s plot remain absorbing, and Presumed Innocent is certainly as watchable as a lot of other courtoom-investigative thrillers. Yet almost everything in the picture feels sterile and posed. Pakula is good at laying out an intricate, almost mathematical series of events (his best film remains All the President’s Men), but he’s not big on atmosphere. The movie could have used some of the bowels-of-the-city grit Sidney Lumet brought to Q & A.
    • 56 Metascore
    • 67 Critic Score
    Sabrina
    The new Sabrina is both pokier and gauzier than the original.
  28. Homicide
    Homicide is engrossing, at least for a while, but the truly personal movie it wants to be remains locked up in Mamet’s head.
  29. The Goldfinch
    The Goldfinch feels like more than the sum of its disparate parts; a painting in the wrong frame, maybe, but one whose imperfect beauty still draws you in.
  30. What They Had
    While it’s loaded with excellent ensemble performances and flashes of real poignancy, it can’t seem to help itself from occasionally jack-knifing into heavy-handed wrong turns that can play as clichéd or phony. It’s half of a great movie.
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