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Entertainment Weekly's Scores

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For 7,607 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 Standing in the Shadows of Motown
Lowest review score: 0 Wide Awake
Score distribution:
  1. Positive: 4,811 out of 7607
  2. Mixed: 2,043 out of 7607
  3. Negative: 753 out of 7607
7607 movie reviews
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  1. Operation Fortune: Ruse de Guerre
    Globe-trotting tomfoolery ensues, in ways never quite as witty or engaging as you want them to be, though Hugh Grant and Josh Hartnett bring a certain insouciant zing.
  2. The Quiet Girl
    With its English subtitles and small-scale epiphanies, Girl is the kind of quiet film that could easily get lost in a noisy season; lean in anyway, and listen.
  3. Cocaine Bear
    It's all patently ridiculous, and even at 95 minutes, a stretch to call this loose cannonball of high camp and sticky-bright gore a movie.
  4. Creed III
    Majors, already seemingly inescapable this year, brings a wounded menace that suggests the many sedimentary layers of fury and grief underneath; he's less some sneering Iron Curtain meathead á la Rocky villains of yore than a lost soul.
  5. Emily
    There's something gently intoxicating about O'Connor's dreamlike pastoral settings — oh, those wily, windy moors! — and her determination not just to rewrite Emily, but set her free.
  6. Return to Seoul
    In its colorful, Godardian way, Return to Seoul becomes a quest movie, but not the one you're expecting — it's the opposite of sentimental or overly therapized.
  7. Ant-Man and the Wasp: Quantumania
    At just over 120 minutes, though — a blink in Marvel time — this Ant-Man is clever enough to be fun, and wise enough not overstay its welcome. Who better understands the benefits, after all, of keeping it small?
  8. Somebody I Used to Know
    There's a low-key charm to the movie's knowing spin on familiar beats, and far more chaotic non-sexual nudity than Julia Roberts would ever allow in her contract.
  9. Sharper
    It's easy to lose count of the double and triple crosses in Sharper, a silly and unabashedly camp thriller that is, frankly, exactly the kind of sleek, shenanigan-y frolic that bleak midwinter calls for.
  10. Your Place or Mine
    What should be breezy, featherweight fun — Reese! Ashton! A screenplay by the lady who wrote The Devil Wears Prada and 27 Dresses! — instead turns out to be oddly hollow, a meandering and synthetic approximation of classic rom-com canon with too little romance or comedy in its strained, familiar formula.
  11. Magic Mike's Last Dance
    Last Dance is missing a lot, but it has the moves you mostly came for — and in its final strobe-lit moments, the full release of a Hollywood ending.
  12. Knock at the Cabin
    Shyamalan may be saying something meaningful about faith or environmental destruction or the corrosive fraying of the social contract (could this vigilante crew really be motivated by pure homophobia, as Andrew believes?). But the message is mostly lost in sentiment, and a lingering sense of the better, messier movie that might have been.
  13. The Pod Generation
    Ejiofor is eminently relatable as an analog man who can't seem to understand where it all went wrong, and Clarke's eyebrows knit with such pained expressiveness, it's as if they're having their own wriggling monologue throughout the movie.
  14. Close
    Shot in alternating French and Flemish, it's also quintessentially European, but the language of his storytelling is the most universal kind: a moving and often sublime piece of small-scale filmmaking, told with uncommon empathy.
  15. You People
    The movie is much better when it relaxes its death grip on screenwriter-y punchlines and slapstick cringe and just allows its cavalcade of stars to act like actual, you know, people.
  16. Infinity Pool
    At least Mia Goth, herself recently reborn as indie horror's new scream queen with Pearl, understands the assignment, getting more unhinged with every scene (her character starts off with vigorous flirting and a brusque handjob, and goes from there).
  17. Shotgun Wedding
    This Wedding clearly wasn't meant to be a masterpiece, but even as mid-winter fluff it feels like a rush job: a marriage made for lazy-Sunday streaming at best, 'til death — or more likely, a better script — do you part.
  18. Cat Person
    By swerving into territory already better owned by outrageous indies like Promising Young Woman — and to a lesser degree, last year's Sundance breakout Fresh — Cat forfeits its own underlying message, without finding anything else new or even particularly coherent to say.
  19. Missing
    Directors Nick Johnson and Will Merrick sometimes strain the credulity of what shooting in-screen can do — June's laptop camera does a lot of heavy lifting — but the movie rarely feels forced or claustrophobic; it's just a whizzing, cannily of-the-moment spin on a familiar genre, reupped for the Genius Bar age.
  20. Magazine Dreams
    Even as the pacing falters, Majors is impossible to look away from: a man who desperately needs the world to see him — and if they refuse, to feel his pain.
    • 100 Metascore
    • 100 Reviewed by
      Ty Burr
    Celine and Julie Go Boating (1974)
    The pace is daringly languid — at times it seems more like a daydream on a sunny park bench than a movie — but you’ll emerge from this wonderland as if from vacation, and you’ll never look at the intersection between life and storytelling in quite the same way.
  22. The Pale Blue Eye
    Until [Cooper] loses his way in the cascading absurdity of the final twists, though, the movie is mostly a study in how good its two main actors can be: Bale's soulful, hollow-eyed conviction, and his odd-couple chemistry with Melling, isn't quite enough to sell The Pale Blue Eye's loopy improbabilities in the end, but it's still a pleasure to watch them try.
  23. M3GAN
    The tart in-jokes and absurdity of the script, its winky acknowledgment of all the tropes gone before it, feels like a delirious cap on recent genre hits like Barbarian and Malignant.
  24. Adult Swim Yule Log
    You'll not find a more bodacious bonanza of sheer WTFery than the last twenty minutes, which crosscut realities and timelines while doing truly disgusting things with pimento cheese.
  25. Babylon
    Boogie had a dramatic throughline, and something genuinely unsettling to say about the strange soul-bargaining of fame. Chazelle often steers his characters toward tragedy or anguish, without ever quite rooting his inscrutable thesis in anything real.
  26. Avatar: The Way of Water
    The movie's overt themes of familial love and loss, its impassioned indictments of military colonialism and climate destruction, are like a meaty hand grabbing your collar; it works because they work it.
  27. The Eternal Daughter
    Obliquely related to her recent movies, Hogg's latest is either her slyest joke to date, or another swerve in an especially fecund career phase.
  28. Violent Night
    A team of screenwriters more creative than Pat Casey and Josh Miller (best known for two manic Sonic the Hedgehog movies) might have done more with the backstory, and director Tommy Wirkola's beatdowns never transcend the merely serviceable. But there's no denying the joy in a child's eyes when she sees Santa's weapon of choice, a sledgehammer hefted with brutal artistry, and squeals its name: "Skullcrusher!"
  29. Sr.
    There's something lovely and quietly profound about where the film finds itself in the end: a generational love story that transcends old wounds and misadventures, and even, in its tender final moments, death itself.
  30. Spoiler Alert
    Anchored by the ridiculously charming Aldridge's chemistry with Parsons (distant but effective in comparison), Spoiler Alert defies expectations throughout, refusing to adhere to one genre or storytelling convention.
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