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. Hurry Up Tomorrow
    Bad movies come and go, but Hurry Up Tomorrow presents the Weeknd as so needy and so irritating that it may have lasting effects. The next time one of his songs comes up on a playlist, I may hit fast-forward. I've spent enough time with this guy.
  2. Megalopolis
    Megalopolis grants Coppola a dubious honor. In addition to his being the mastermind behind two of cinema's greatest achievements, he's also now the architect of one of its worst.
  3. Back to Black
    There’s no desire to interrogate her artistry or to grant a portrait of what made her tick. In this rendering, Winehouse is made up purely of audacity, vocal theatrics, and addiction-fueled behavior. When it comes to this surface-level exploitation of Amy Winehouse’s life, just say no, no, no.
  4. Blonde
    The main thing the movie misses in portraying Marilyn solely as a tragic sex bomb isn't just the pleasure that Monroe herself brought to millions, but de Armas's inner light too. The spark and vitality so evident in previous projects like Knives Out and No Time to Die has been smothered down to one note: walking wound. What's left is mostly empty iconography and a few indelible images, a bombastic curiosity wrapped in the guise of high art. Some like it cold.
  5. The Princess
    King is an engaging actress to watch, if she only had an actual backstory, but the movie is so relentlessly romp-y and blood-splattered it quickly becomes numbing.
  6. Texas Chainsaw Massacre
    A remake could have been fun if it had been made with vision, or at least an appreciation of the original. If that's grade-A beef, call this one a rancid veggie burger.
  7. Moonfall
    Mostly, though, as TV newscasters inform us, civilization has taken a serious nosedive — definitely the case when a well-financed Emmerich disaster flick can't even get its dumb-fun groove on.
  8. The King's Man
    But for all its faults, The King's Man is at least hilariously bad in the way that emotionless, made-by-committee blockbusters like Star Wars: The Rise of Skywalker are not.
  9. Diana: The Musical
    If you want royal intrigue and insight, do yourself a favor and revisit Harry and Meghan's Oprah interview because Diana: The Musical is rather like the royal family itself these days, expensive and pointless.
  10. He's All That
    It might be just as well that Padgett is not given a real emotional arc, nor anything resembling an internal life. Even when little is asked of her, Rae's acting is not up to the challenge.
  11. Space Jam: A New Legacy
    Algorithmically speaking, it's no slam dunk.
  12. Malcolm & Marie
    The whole movie comes across as deeply self-conscious, more concerned with how it sounds than what it's saying, consumed with impressing people rather than expressing something.
  13. The Prom
    Some of the songs have charm. The cast is undeniably talented. But ultimately, the film has way too much in common with the egomaniacs at its center: It poses for an undeniably good cause, but its greater purpose is to collect the credit for having done it.
  14. Hillbilly Elegy
    Hillbilly Elegy is two movies, one laughably bad and one boringly bad.
  15. 2 Hearts
    There’s a great film to be made about organ donation — the miraculous, often mysterious link between donor and recipient and how that decision touches lives. But 2 Hearts doesn’t come close to finding the pulse required to be that movie.
  16. An American Pickle
    There are actors who can pull off dual roles, and now we know Seth Rogen isn’t one of them.
  17. Endings, Beginnings
    If ever there was a movie to suffer to, Endings, Beginnings is it.
  18. The Beach Bum
    Hard on the heels of January’s god-awful "Serenity," we’re now treated to The Beach Bum — a shambling, self-indulgent inside joke about a perpetually stoned holy fool from the Florida Keys named Moondog. I’ll give you one guess who plays him.
  19. Holmes & Watson
    A brilliant supporting cast, which includes Hugh Laurie, Steve Coogan, Ralph Fiennes, Lauren Lapkus, Rebecca Hall, and Kelly MacDonald, is utterly wasted on this lame and forgettable outing. The only real mystery is why they wanted to be apart of this project at all.
  20. Johnny English Strikes Again
    Every gag in this movie has already been done before, and better, presumably by one or both of the earlier Johnny English films. I promise that I will never force myself to find out.
  21. Peppermint
    All of us, but especially Jennifer Garner, deserve better.
  22. Kin
    Kin is a movie about a child with an all-powerful firearm that makes him feel important and special and powerful. On a one-to-ten scale of moral fecklessness, this ranks about a thousand.
  23. The Darkest Minds
    There is no resolution for any of the story lines haphazardly dangling like electrical wires. No villain is defeated, no secrets are explained. When the credits roll, there has been no catharsis for the 90 minutes of movie preceding it, which makes it all feel like a protracted introductory sequence for a sequel that, god willing, will never come.
  24. Action Point
    Even the stunts – the whole raison d’etre of a movie like this – seem tame and staged. It cheaps out on the good stuff. And for a movie with so little going for it besides the threat of danger, there’s no excuse for Action Point to play it this safe.
  25. The 15:17 to Paris
    Eastwood seems to be reaching for some level of realism, but when every single interaction feels like half-coded AI tried to recreate bro talk, it’s clear that a mistake has been made.
  26. Fifty Shades Freed
    Strip the pleasure away from a guilty pleasure and what are you left with exactly? Fifty Shades Freed, the third and final cinematic installment in E.L. James’ trashy S&M trilogy, answers that question with every ludicrous plot twist, stilted line delivery, and too-laughable-to-be-hot sex scene.
  27. Bright
    Ayer and Landis’s world is so dull and ill-conceived that few will want to spend any additional time there. It’s a world of magic that lacks any of its own.
    • 21 Metascore
    • 25 Critic Score
    Geostorm
    A disastrous disaster movie that is actually quite low on the disasters to its own detriment.
  29. Chaplin
    A massive Hollywood biopic about a man who never quite seems there.
  30. The Book of Henry
    Lieberher delivered such a nuanced performance in Midnight Special (ditto Tremblay, in Room) that The Book of Henry can (we hope) just be chalked up to a case of early-career hiccups.
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