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. Ballerina
    Like dining at Burger King, it's undeniably enjoyable, but may leave you with a queasy feeling when it's all over.
  2. Karate Kid: Legends
    Weirdly it's because it is so damned hokey that parts of the movie are agreeable. One can't help but laugh. That, plus the lead performer, Ben Wang as Li Fong, is extremely likable. He gives a terrific performance, even if you've seen every beat before.
  3. Fountain of Youth
    Unfortunately, there is an uncanny lack of urgency in the film. The characterizations are flat, the would-be quippy dialogue rarely elicits laughs, and the action sequences seldom rise above the level of satisfactory.
    • 53 Metascore
    • 58 Critic Score
    Champagne
    The story and character work get the job done, but aren't likely to leave a lasting impression.
  5. Mufasa: The Lion King
    The visual effects and animation teams scale a monumental peak here, and their work, at least, is worthy of praise. But Nathanson’s screenplay is a spiral of ever-increasing peril.
  6. The Cut
    Despite a trio of knockout performances, The Cut is a lackluster boxing drama.
  7. Queer
    Queer is an exercise in cinematic smugness. It’s a shame because it does contain some truly fine performances and compelling imagery. But much like its central character, it can’t get over itself.
  8. Eden
    Howard, working from a script by Noah Pink, has a lot of plates to keep spinning, including the story's wild swings between outrageous outbursts, sometimes played for laughs, and dog-eat-dog tension. Inevitably, with such an act, a few plates are bound to break.
  9. Bird
    Like the butterflies and pockets of natural beauty that Bailey is drawn to, there are glimmers of potential in Bird. But it never fully manages to take flight, leaving its provocative conclusion more jarring and confusing than revelatory.
  10. Deadpool & Wolverine
    The movie is two hours of cheap jokes, culminating in the world’s biggest Family Guy episode. It tries so hard to be clever, it just ends up being cringe.
  11. Beverly Hills Cop: Axel F
    While Beverly Hills Cop: Axel F isn’t terrible, and it does have a few funny zings plus one decent chase scene, there’s not a molecule of originality on display. One can’t help but call it a missed opportunity.
  12. Horizon: An American Saga - Chapter 1
    What’s strangest about this three-hour movie, though, is that despite some deadly slow patches, it still feels like an hour was cut from it, considering how characters develop off-screen. On more than one occasion, there are scenes that suggest deep and lasting relationships between people … that must have happened while the camera was somewhere else.
  13. Kinds of Kindness
    With their abrupt violence, grotesque body horror, and mordant sense of humor, all three of the stories feel more aligned with Lanthimos’ earlier style, The audacity that has so defined Lanthimos and Stone’s work together remains, but here, it takes on a nastiness that becomes tedious the longer the film stretches on (and on and on to a nearly three-hour running time).
  14. Civil War
    The result is a brutal piece of speculative fiction that highlights the ugliness of war — even if it never quite lives up to its provocative premise.
  15. The American Society of Magical Negroes
    American Society can’t decide whether to go full biting satire or charming rom-com, and as a result, it fails to do either genre justice.
  16. Ferrari
    The film does not valorize Ferrari, but it doesn’t complicate him either. And while its racing sequences are exhilarating, it should have spent more time looking under the hood.
  17. Wish
    Wish is so obsessed with the past that it fails to add anything new of its own. If you’re going to pay tribute to 100 years of Disney magic, you can’t forget to save a little magic for yourself.
  18. The Killer
    Fincher is adept at excoriating the darkness of the human soul, but he's missed his mark with a character so blindly determined to prove he doesn't have one.
  19. Finally Dawn
    Costanzo wants to tell a story set in the past, but he doesn't spend enough time fine-tuning the particulars that make period pieces feel vital rather than stagey. Additionally, at 140 minutes, the film is self-indulgent in length.
  20. The Flash
    Rather than the beginning of a cool, new idea, The Flash now feels like it should be the last word on movie multiverses.
  21. Fast X
    Fast X wants all the grandiosity of finality while not actually ending anything.
  22. Scream VI
    Splattery, puncture-heavy violence — the hard-R rating is earned — alternates with deadening rafts of therapy-speak, including an actual therapy session. But there's no deeper meaning to any of it; the Scream idea, meta to its core, was always a preening celebration of its own cleverness, never mind the occasional half-explored nods to toxic fandom or cancel culture.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. 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.
  29. 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.
  30. Black Adam
    Black Adam is what happens when artists say they want to go dark but don't really have the stomach for it. Cue scenes of humorless mid-air wrestling, shake vigorously, wait for the sequel.
  31. Ticket to Paradise
    There's no doubt both actors deserve sharper, less silly material than this, but when they're playing beer pong in a Bali bar and drunkenly pogo-ing to House of Pain's "Jump Around," Paradise is almost, for a moment, a place on Earth.
  32. Raymond & Ray
    The whole thing is so airless and hollowly constructed, so full of mimed but unfelt feelings, that it's a relief to put this body in the ground and forever hold your peace.
  33. Halloween Ends
    Before it lumbers to its big showdown — halfheartedly, with all the excitement of a third installment of a third reboot cycle — Halloween Ends is an unusually Michael Myers-free affair. Where's the big guy?
  34. Amsterdam
    The production and costume design are, unsurprisingly, impeccable. But the resolution of the central mystery is both rushed and obtuse, and it all unfolds in a frenetic, flailing whirl of pomp and nonsense that Amsterdam's strange circuitous journey and almost embarrassing surplus of stars never quite justifies: a whirring music-box curiosity in search of some elusive purpose, and a point.
  35. 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.
  36. Mack & Rita
    Keaton seems to be having a ball with her pratfalls too, though you wish it wasn't all played so silly and flat-out conventional in the end: new broad, old tricks.
  37. Beast
    It's August and we have Idris, Beast seems to say; do you really have anywhere better to be?
  38. Vengeance
    Novak, who spent years refining the squirrelly ticks of his self-regarding salesman Ryan on nine seasons of The Office, isn't a demonstrably different dude here. His callow-millennial act — and the navel-gazing vagaries of modern content culture — make fertile ground for satire, and many of the jokes here do find their soft targets. But it can also feel hollow and exhausting in main-character movie form.
  39. Where the Crawdads Sing
    Director Olivia Newman (First Match) bathes the story in so many broad, creaky tropes and odd tonal shifts that nothing ever feels real for a moment.
  40. Persuasion
    This Persuasion chooses to wear its source material like a thin disposable skin, discarding many of the vital organs (brain, heart) and most ideas of subtlety as it goes. Austen may be immortal, but she's not inexhaustible; maybe it's time to tell another story and let her rest in peace.
  41. Jurassic World Dominion
    Even with the original cast on board, there's surprisingly little chemistry or humor, and the movie makes repeated pit stops to stress family values.
  42. Chip 'n Dale: Rescue Rangers
    There's a secret blandness behind the frantic insider gags.
  43. Crimes of the Future
    Crimes of the Future . . . sometimes feels like a Cronenberg Greatest Hits, at least aesthetically; so loaded does it come with his signature themes and gooey, seemingly hand-crafted contours.
  44. Operation Mincemeat
    A better, subtler movie lurks somewhere in Mincemeat; for dads and history buffs, the pleasant hash it presents instead is passable enough.
  45. Memory
    The whole thing is so wrapped in leaden dialogue and B-movie cliché that by the last weary, bloodletting hour, you'll envy Alex's ability to forget.
  46. The Bubble
    Both directors have made much better movies; go watch one of those instead.
  47. Deep Water
    Deep Water isn't really thrilling or erotic, but it accomplishes a kind of diagonal camp sincerity, plummeting its glamorous characters into ever-tawdrier situations. I wouldn't marry it, but I wouldn't kill it. Remind me, what's the third option?
  48. Marry Me
    It's all cream puff, a featherweight fairytale too shiny and mild to attempt the better movie about midlife romance and second chances that might have been.
  49. Sharp Stick
    The movie's final frame asks us to believe that Sarah Jo has finally, ecstatically found herself; by then, whatever reason we have for watching is already long lost.
  50. A Journal for Jordan
    Uninspired though it is, A Journal for Jordan delivers on the heartbreak of its premise. You will weep. So if that's what you're after, you couldn't ask for anything more.
  51. The Humans
    The cast's chemistry never quite gels beyond their staged circumstances, and too much of the dialogue replicates actual life without finding a deeper resonance: the rambling anecdotes, latent passive aggressions, and aimless small talk of ordinary people just living their lives.
  52. Red Notice
    For all the outsize fight scenes and casual profanity though, the whole thing is oddly bloodless. (Even a rampaging bull hardly leaves a bruise.) And so Red Notice goes: blithely skimming through its slapstick fantasy, and laying bejeweled eggs wherever it lands.
  53. The Electrical Life of Louis Wain
    The film can't seem to stop piling on idiosyncrasies, a kind of willful kookery that mixes uneasily with the more serious elements of personal tragedy and mental illness that run through it.
  54. Ghostbusters: Afterlife
    There are some jokes here — Paul Rudd brings a little lightness to the proceedings as the kids' science teacher, Mr. Grooberson — but it's hard to escape the overall sensation of, well, a corpse being exhumed.
  55. Venom: Let There Be Carnage
    If we're all disposable space chum in this franchise game anyway, who needs a coherent narrative and character arcs? Just bite the head off every chicken, and lean in.
  56. The Guilty
    Guilty, for all its wild-eyed excess, does find some blunt-force propulsion for a while, particularly if you're coming to it new. But the movie seems to mistake the taut minimalism of the original for something that needs to be goosed and adrenalized, a thriller on constant defibrillator.
  57. The Protégé
    Martin Campbell's cat-and-mouse assassin thriller is self-aware enough as a kinetic genre entry. As it spills more blood and more convoluted backstory, however, it reveals an empty center.
  58. 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.
  59. 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.
  60. 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.
  61. 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.
  62. 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.
  63. 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.
  64. 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.
  65. 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.
  66. 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.
  67. 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.
  68. Godzilla vs. Kong
    If you want a great monster movie that's actually also about people — how they think and talk and feel when they're more than just screaming kaiju chum in the water — try 2017's Colossal, currently streaming on Hulu. If not, maybe Godzilla vs. Kong's brawling lizard-brain shock and awe is exactly the void you came for.
  69. Nobody
    Nobody could play well for anyone desperate to visit a recently reopened theater, but this is a rather chilly festival of carnage, too rigid to ever really spark to life. It's wickless.
  70. Zack Snyder's Justice League
    Yet even compared to the glacial Marvel-Netflix Dramas, Zack Snyder's Justice League is a chore. At the end of the rainbow, viewers are left with the promise that the actual cool things will happen next time. This cut is no worse than the theatrical edition, but it sure is longer. "So begins the end," Steppenwolf declares. When he says that, there is one hour left.
  71. Silk Road
    There's only so much real-world intrigue a crime committed almost entirely via ones and zeroes can entail, and the script's halfhearted attempts to make it all Mean Something feel more than a little callow in the end.
  72. Cherry
    For all the frenzied action of the final scenes though, there's an airless, overwrought sense of diminishing returns — and that's a comedown we've seen too many times before.
  73. To All the Boys: Always and Forever
    Cloying though it is, Always and Forever does understand how all-consuming first love can be, how bittersweet graduation, how scary choosing one's own path.
  74. Falling
    Barring any greater lessons on motivation or forgiveness, the movie becomes little more than an endurance test; one far easier — at least for the viewer — to fall away from than to stay.
  75. Monster Hunter
    Plot doesn't really matter, there's not much character development to speak of, but there is a lot of fighting against an endless swarm of enemies.
  76. Freaky
    There's a better, weirder story in here somewhere — about teenage desire and social Darwinism, gender and perception — but the movie seems happy enough to settle for familiar, goofy jokes and jump scares; a freak flag half-flown.
  77. Holidate
    As it is, though, the leaden dialogue and awkward pacing ensure that the shallow, unfunny Holidate never takes off.
  78. The Craft: Legacy
    By the end of Legacy, each of the witches has become less interesting and less distinct. You’ll find yourself asking, where are the weirdos, Lister-Jones? I'm sorry to tell you: They got left in the ‘90s.
  79. The Witches
    This Witches, alas, has the misfortune of doubling down on all the late writer's eccentricities, while somehow finding only a fraction of his magic.
  80. I'm Your Woman
    If wallpaper and polyester were any metric to judge a movie by, I'm Your Woman could have been a masterpiece.
  81. The Secrets We Keep
    For the most part, though, these secrets aren't worth passing along.
  82. The Broken Hearts Gallery
    If the movie had just a little bit of truth, it could speak to people without "relatable" pandering about how adulting is hard and men are jerks! It's easy to parade around an ostentatiously broken heart, but that only means anything if it comes with baring a little bit of soul.
  83. Chemical Hearts
    An adaptation of Krystal Sutherland’s YA novel Our Chemical Hearts, Tanne’s second film doesn’t live up to the promise of his first, lacking its texture and specificity, but still offers small insights and worthy central performances.
  84. Unhinged
    It doesn't help that Pistorius' Rachel spends the first 75 of it like a woman who's never seen a horror movie — if there were noises in the basement, she'd run right down to investigate with a plastic spork in her hand — and the final 15 like a ninja assassin who invented them.
  85. Made in Italy
    It feels almost churlish to fault the film for its weightlessness, when light is exactly what movies like this are meant to provide: a fizzy, sun-drenched escape from the pale monotony of our own lives.
  86. The Secret Garden
    Like the garden at its heart, The Secret Garden has always found its beauty in its quietude, a small story of hearts broken and healed through nature, attentive care, and true connection. But this adaptation doesn’t understand that, instead drowning the film in showy set pieces and magical realism rather than understanding the inherent magic in all things.
  87. Irresistible
    In a world where a morning tweet can feel as dusty as the Dead Sea Scrolls by nightfall, it almost seems like madness to try to capture this current political moment on film.
  88. Wasp Network
    Visually, the appeal of Wasp Network is undeniable — all warm, colorful, open spaces, elegantly shot and peopled with beautiful actors. The intrigue could have used some of that heat, too.
  89. You Should Have Left
    Even at 93 minutes, the material feels thin, and so does its moral message. But the movie's goofy, blunt-edged claustrophobia may also be its greatest gift to viewers: the chance to be grateful that the only ones haunting our own homes right now are us.
  90. Valley Girl
    As it stands, the movie is just as slick as the lifestyle it supposedly mocks.
  91. Capone
    Maybe what's most frustrating is how much the movie's deeper themes — morality, mortality, the twilight of power — churn intriguingly at the edges of nearly every scene only to turn toward sentiment, or become merely secondary to its relentless focus on his physical decline. There’s merit, of course, in exploring the good and bad in every man, even one as notorious as this one; Capone, in the end, just settles for ugly.
  92. Love Wedding Repeat
    If only hilarity ensued; instead, Wedding manages to feel both overwrought and underbaked, consistently squeezing the natural charm out of its players in order to bang their hapless miscommunications and personality quirks into the ground. It's enough to make it through once; Repeat may be a bridge too far.
    • 44 Metascore
    • 58 Critic Score
    Bloodshot
    It’s a lot of bog-standard action stuff glommed onto a deeper metaphysical muddle; Inception drawn in extra-thick Sharpie and testosterone. If the whole thing is ultimately a shell for Diesel to do what he does, the ending also takes care to sing in the key of sequel too: Come fast cars, Avatars, and farther galaxies, there will be blood, again.
  94. Spenser Confidential
    Fists will smash; pecs will flex; hard consonants, like dirty cops, don't stand a chance. It's the only sure thing in this crazy world, kids — except maybe a sequel.
  95. The Rhythm Section
    In the second half, the movie even manages a few rare moments of visceral thrill, and even something like catharsis. But nothing ever quite gels; instead, the story just keeps banging toward its bloody conclusion, always a little off the beat.
  96. Dolittle
    The film is so eager to please, so relentlessly quippy and quirky and tipped with antic whimsy, it often feels like visiting a zoo built into a Tilt-A-Whirl.
  97. Like a Boss
    The film tries to replicate the formula that made "Bridesmaids" sing, pairing a heartfelt story exploring the complexities of female friendship with bawdy, over-the-top comedy. But the first half of the equation only partly succeeds, and the latter falls totally flat.
  98. Cats
    Even after 110 tumbling, tail-swishing, deeply psychedelic minutes, it’s hard to know if you ever really knew anything — except that C is for Cats, C is for Crazy, and C is probably the grade this cinematic lunacy deserves, in the sense of making any sense at all. And yet that somewhere under the Jellicle moonlight, it is somehow, too, an A++.
  99. Star Wars: Episode IX - The Rise of Skywalker
    We need a new franchise designation for this stumbling, bloodless conglomeration of What Once Was. Rise of the Skywalker isn’t an ending, a sequel, a reboot, or a remix. It’s a zombie.
  100. Black Christmas
    A sort of forgettable Christmas wisp, a black-hearted jingle bell only half-rung.
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