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.
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