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. Roman J. Israel, Esq.
    Roman J. Israel, Esq. doesn’t quite have the same frayed-wire electricity as "Nightcrawler," but what it does have on its side is Denzel Washington.
  2. Jim & Andy: The Great Beyond — Featuring a Very Special, Contractually Obligated Mention of Tony Clifton
    Jim & Andy is fascinating, but it lands on a weird message: Thank goodness Andy Kaufman existed so Jim Carrey could play him in a movie.
  3. Mudbound
    I’m not quite sure how Rees (2011’s Pariah) has done it, exactly, but the depth of heartbreak and humanity in this — just her second feature film — is remarkable.
  4. Justice League
    First, the good news. Justice League is better than its joylessly somber dress rehearsal, Batman v Superman: Dawn of Justice. Now the “but”…you knew there was a “but” coming, right? But it also marks a pretty steep comedown from the giddy highs of Wonder Woman.
  5. Three Billboards Outside Ebbing, Missouri
    A tar-black comedy so caustic it nearly burns a hole in the screen, Three Billboards Outside Ebbing, Missouri banks a lot on the gale force of Frances McDormand, and nearly pulls it off.
  6. Thelma
    Thelma doesn’t play with pig’s blood and jump scares; its dreamlike dread is subtler and stranger, and much harder to shake.
  7. Daddy's Home 2
    Of course, there’s a sort of comfort in familiarity, especially around the traditions of the holidays. But Daddy’s Home 2 never manages to really catch you off guard and crack you up the way the best comedies should.
  8. Murder on the Orient Express
    Branagh executes his double duties with a gratifyingly light touch, tweaking the story’s more mothballed elements without burying it all in winky wham-bam modernity.
  9. Lady Bird
    Gerwig doesn’t trap her protagonist in the oblivious underage bubble that most coming-of-age dramedies inhabit; Lady Bird’s parents, played by Tracy Letts and Laurie Metcalf, are fully formed humans with their own deep flaws and vulnerabilities.
  10. 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.
  11. A Bad Moms Christmas
    What follows is another slapstick dose of hard-R ridiculosity with a soft-nougat center, but it also passes the Bechdel test maybe better than any other film this year, and its older generation of stars are too smart not to go to town on their stock roles.
  12. Novitiate
    First-time director Maggie Betts has said she based her story in part on extended research into the aftershocks of Vatican II’s new liberties — in its wake, devoted members left the Church in droves — and on personal biographies of the women who experienced it firsthand.
  13. Jigsaw
    It feels too long, and it’s only 90 minutes. Jigsaw’s lifecoach-gone-mad ruminations have never sounded less threatening: He is become mansplainer, destroyer of drama. But there are lasers. I liked the lasers.
  14. Thank You for Your Service
    Thank You For Service is so successful at capturing the Iraq War’s effects on American lives.
  15. Wonderstruck
    Even a ravishingly shot finale — Queens has never looked so enchanting — can’t quite paper over the weak resolution of the plot’s central mystery.
  16. 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
  17. Suburbicon
    The movie does get some fun gory mileage out of its cracked-Pleasantville premise; but mostly it feels like broad farce madly in search of a cohesive center, and a soul.
  18. The Snowman
    The Snowman is completely bereft of either style or emotion.
  19. BPM (Beats Per Minute)
    There’s something uniquely, transcendently beautiful in Campillo’s particular vision and the unhurried way he unfurls it.
    • 21 Metascore
    • 25 Critic Score
    Geostorm
    A disastrous disaster movie that is actually quite low on the disasters to its own detriment.
  21. Thor: Ragnarok
    Ragnarok is basically a Joke Delivery System — and on that score, it works. The movie is fun.
  22. The Foreigner
    Chan has a bit of Clint Eastwood’s "Unforgiven" aura about him here, with the costs of his violent life visible in the weary lines of his face. I’m not sure anyone has plans to turn this into a franchise, but I certainly want to see more from this Chan-aissance.
  23. Goodbye Christopher Robin
    The film’s main conflict is with its source material, twisting and wringing Milne’s life for everything it’s worth and hoping enough is squeezed out to qualify as a film.
  24. Marshall
    The film shines, however, as a taut courtroom drama.
  25. Happy Death Day
    Happy Death Day is directed with vim, vigor, and heart by Christopher Landon (Scouts Guide to the Zombie Apocalypse), and boasts a winning central performance from Rothe.
  26. The Meyerowitz Stories (New and Selected)
    It’s smart, relatable, laughter-through-psychic pain entertainment that happens to be elevated by a handful of wonderful performances even if it, at times, feels like a lesser version of "The Royal Tenenbaums."
  27. 78/52: Hitchcock’s Shower Scene
    In 1960 this was a shocking, sexually charged symphony of taboo-smashing terror. And thanks to the artistry of Alfred Hitchcock, it remains one today.
    • 51 Metascore
    • 50 Critic Score
    Breathe
    A tame, vanilla whimper of a period drama begging for a better treatment in more assured hands.
  29. Professor Marston & the Wonder Women
    A tasteful, surprisingly sedate biopic slathered in the traditional signposts of heavy exposition, gold-toned cinematography, and note-perfect period detail.
  30. Dina
    Both are on the autism spectrum, and filmmakers Dan Sickles and Antonio Santini chronicle the pair’s love story in touching, captivating detail.
  31. The Mountain Between Us
    Can’t decide whether it wants to be a chilling survival movie or a sweeping romance. It never fully commits to either genre, and the result is a forgettable adventure that leaves you feeling cold.
  32. The Florida Project
    The story begins to feel more like a series of strung-together anecdotes: an intriguing project, incomplete.
  33. Better Watch Out
    Peckover’s sharp directing keeps things nicely nasty without ever going too far over the top — though it’s possible some gore-averse Scrooges may disagree. If you want to gift yourself a holiday film that decks the halls with blood, this is one to put under the tree.
  34. Una
    Una’s raw, deeply dis­comfiting dance between obsession and exploitation isn’t easy to watch by any metric; they make it hard to look away.
  35. Our Souls at Night
    The real draw is seeing these two legends together again.
  36. Flatliners
    It often feels like Flatliners is trapped between multiple genres without knowing exactly what kind of movie it wants to be, and the result is a confused mess.
  37. Blade Runner 2049
    Even when its emotions risk running as cool as its palette, 2049 reaches for, and finds, something remarkable: the elevation of mainstream moviemaking to high art.
  38. Super Dark Times
    Super Dark Times perfectly nails the minute details of adolescence—a minefield of confusion about right and wrong that leads to all kinds of impulsive bad decisions.
  39. Lucky
    Directed by another great character actor, John Carroll Lynch (Zodiac, American Horror Story), Lucky is an elegiac and ultimately affirming meditation on mortality, regret, and smiling through hardship. You couldn’t ask for a more poignant swan song from a more singular artist.
  40. American Made
    The movie spins like a top for two hours. With his pearly shark’s grin, always-underestimated comic timing, and macho daredevil streak, Cruise rips into the role and summons a side of himself that he rarely lets his guard down enough to reveal.
  41. Gaga: Five Foot Two
    Five Foot Two is a strange work, slippery, out of focus.
  42. Victoria and Abdul
    Uneven but endearing.
  43. Battle of the Sexes
    The symbolic power of what happened there — one small step, one giant leap for womankind — is still the movie’s truest ace.
  44. Stronger
    There’s a raw, tangible humanity to nearly every scene that sets the film gratifyingly apart.
  45. The LEGO Ninjago Movie
    Credit is due to Jackie Chan, who gives his all to make Ninjago work.
  46. Kingsman: The Golden Circle
    If the first Kingsman, at its best, felt like a dry martini of a joke, then this one is more Jack and Mountain Dew — unsubtle, unrefreshing, and unnecessary.
  47. Strong Island
    Strong builds a poignant, methodical portrait of loss.
  48. American Assassin
    As Hurley and Rapp race against the terrorists, the plot is too dumb to be taken seriously and too self-serious to be any fun.
  49. Brad's Status
    Some of Status’s cringe comedy feels forced or simply wasted on soft targets.
  50. First They Killed My Father
    It’s an artful, quietly affecting piece of filmmaking, more than worth the lessons learned.
  51. mother!
    The title isn’t the only thing about the film that has an exclamation point; every scene comes with one – and also seems to be in blaring, buzzing neon. The movie doesn’t know when to stop.
  52. Home Again
    Witherspoon can easily carry an entire movie in her dimples, but it’s hard not to measure Alice against a role as richly written as her recent turn on "Big Little Lies." Here, she’s mostly just a winsome proxy for midlife wish fulfillment — a bubbly brunch mimosa you drink up before the fizz is gone.
  53. Rebel in the Rye
    You won’t find much new light shed on the reclusive author of The Catcher in the Rye in writer-director Danny Strong’s polished but cliché-festooned biopic Rebel in the Rye.
  54. It
    It is essentially two movies. The better by far (and it’s very good) is the one that feels like a darker Stand by Me — a nostalgic coming-of-age story about seven likable outcasts riding around on their bikes and facing their fears together... Less successful are the sections that trot out Pennywise. The more we see of him, the less scary he becomes.
  55. Goon: Last of the Enforcers
    The film’s real treat is its deep acting bench with franchise veterans Scott, Pill, Liev Schreiber, Kim Coates, and Marc-André Grondin joined by Elisha Cuthbert, TJ Miller, and, of course, Russell, a real-life former hockey pro whose troubled villain is worthy of a redemptive spin-off film.
  56. Tulip Fever
    As Chadwick (The Other Boleyn Girl, Mandela: Long Walk to Freedom) piles on the coincidences and misdirections, the movie finally collapses under its own schematic weight, and wilts to the ground.
  57. Beach Rats
    Between "Moonlight" and the upcoming "Call Me By Your Name," some are calling this the golden age of gay coming-of-age cinema; Beach Rats’ slow pacing and dreamy verité style doesn’t feel made for quite that level of mainstream appeal. But still it gets under the skin, and stays there.
  58. The Villainess
    The characters come to life when they fight, and seem half-dead when they talk.
  59. Death Note
    The whole thing feels like the pilot episode of a third-rate comic-book vigilante TV show.
  60. Logan Lucky
    A fizzy, twisty Southern-fried heist flick that’s more enjoyable the less you try to dissect it.
  61. Patti Cake$
    It’s festooned with so many triumph-of-the-underdog clichés (including a climax you can see driving down the Garden State Parkway from a mile away), it’s like déja-vu with a breakbeat. The most remarkable thing about the film is how little you’ll actually mind by the end.
  62. Marjorie Prime
    Marjorie Prime in itself feels not unlike Walter’s hologram — almost real and almost human, but not quite flesh and blood.
  63. The Only Living Boy in New York
    Despite the silly and sentimental nature of his dialogue, Bridges, in this wondrous emeritus phase of his career, sells every single line. Well, almost every.
  64. Annabelle: Creation
    Annabelle: Creation isn’t a terrible film. Not exactly. The set-up is promising, and it offers some decent early jump scares. But eventually the thinness of the material becomes overwhelmingly obvious.
  65. The Hitman's Bodyguard
    The Hitman’s Bodyguard is strictly an Economy Coach experience, but it’s brainlessly fun enough in a late-’90s Brett Ratner buddy-comedy kind of way.
  66. The Glass Castle
    Too much of the plot is spun with vanilla, especially tacked-on scenes of Walls’ starched careerist life in New York City with her Banker Boyfriend (Max Greenfield), presumably to engineer more screen time for the lead actress.
  67. Whose Streets?
    It’s stronger as a collection of Ferguson voices and figures, such as rapper Tef Poe, who quiets a crowd in one scene by warning, “You ain’t gonna outshoot [the police].” In moments like those, Whose Streets? is a tragic yet essential portrait of a community under siege.
  68. The Nile Hilton Incident
    The whole thing feels a bit like an Arabic riff on "Chinatown" or "L.A. Confidential" — a neonoir with a tawdry edge where our imperfect hero will eventually be doomed. It’s not a question of if, only when he will lose.
  69. Ingrid Goes West
    A clever, corrosive little trick of a movie, a neon candy heart dipped in asbestos.
  70. 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.
  71. Good Time
    The wild night eventually turns downright rabid, but ­Pattinson anchors Good Time, completely selling Connie from the moment he bursts into the frame and delivering the best performance of his career.
  72. Columbus
    His video essays may have hinted at an artist with a gifted eye, but Columbus is proof that Kogonada also possesses heart and soul as well.
    • 44 Metascore
    • 67 Critic Score
    Kidnap
    While a quick payday might be the case for Berry on Kidnap (she also serves as a producer), the Oscar winner earns her way to the bank in this mildly titillating (albeit unsophisticated) thriller, which bears a striking resemblance to her 2013 flick "The Call."
  74. Wind River
    For all its well-worn outlines, the narrative exerts its own fierce, clenched-jaw grip: a cautionary campfire tale that reminds us it’s not merely the end that matters, it’s the style and skill of the telling.
  75. The Dark Tower
    Bad dialogue, lame plot, fine. The bigger issue: How could a film with Elba and McConaughey have so little swagger?
  76. Atomic Blonde
    The pounding ’80s soundtrack (New Order, Depeche Mode, Ministry) couldn’t be cooler, the ultraviolence is relentlessly brutal, and Theron’s guns-and-garters wardrobe is sexy as hell. So it’s a shame that apart from the gender flip, the plot is so derivative.
  77. Brigsby Bear
    The result is a slight, handcrafted indie that’s sweet, skewed, and feels a bit like a skit stretched out to feature length.
  78. Menashe
    The film (shot mostly in Yiddish) has an unpolished intimacy, peeling back the surface exoticism of a cloistered faith to reveal the poignantly ordinary struggle of being an imperfect person in the world.
  79. Detroit
    A sincere effort to illuminate a singularly dark chapter in history — and a stark reminder of exactly what gets lost when human beings fail to take care of their own.
  80. Landline
    In sweetly calibrated moments — a downtown drug deal gone wrong; Falco alone under strobe lights, swaying ecstatically to Donna Summer — Landline finds the analog joy it’s reaching for.
  81. Dunkirk
    This is visceral, big-budget filmmaking that can be called Art. It’s also, hands down, the best motion picture of the year so far.
  82. To the Bone
    For young people suffering, the movie offers both hope and clarity; for more experienced viewers, it may come off a little too much like "Girl, Interrupted" through a Lifetime lens.
  83. Lady Macbeth
    There’s a provocative idea at the center of Oldroyd’s beautifully photographed film — repression exploding into madness and violence. But as the body count rises, Lady Macbeth loses its secret weapon: sympathy.
  84. Girls Trip
    The jokes that are there are shocking and hysterical, and unlike some similar comedies about grownup friends, the four core characters are actually likeable.
  85. Valerian and the City of a Thousand Planets
    During the film’s intoxicating first 30 minutes, for example, I couldn’t decide whether what I was watching was brilliantly bonkers or total folly. Then, as the story went on, it came into sharper and sharper focus: Valerian is an epic mess.
  86. A Touch of Sin
    Sin, more stylized than the director’s previous work, is also more detached.
  87. Chaplin
    A massive Hollywood biopic about a man who never quite seems there.
  88. Patriot Games
    For Patriot Games to have been more than a generic international thriller, it would have needed to take us deep inside the clandestine organizations — the IRA and the CIA — on which Clancy is fixated. That doesn’t happen.
  89. Hot Shots!
    Hot Shots! offers a satisfying kick in the pants to a movie (and an era) that has more than earned it.
  90. Eddie Murphy: Raw
    Watching his deft, effortless character work chafe against the outermost boundaries of the stand-up format, you sense the transgressive energy of Richard Pryor filtered through leading-man charisma — albeit tinged with hostile paranoia.
  91. Despicable Me 3
    What shines through is the visual wit and innate sweetness of the storytelling, and Carell’s cackling, cueball-skulled misanthrope — a (mostly) reformed scoundrel who can still have his cake, and arsenic too.
  92. Spider-Man: Homecoming
    A brightly contemporary retelling that is not so much an origin story as a coming of age: The On-His-Way-to-Amazing Spider-Boy.
  93. City of Ghosts
    City of Ghosts shows us what journalism can do in the face of evil. Its message is haunting, humane, and ultimately hopeful.
  94. A Ghost Story
    Some, no doubt, will find Lowery’s playfully surreal experiment (a ghost story told from the POV of the ghost) haunting, lyrical, and moving. Others (ahem, guilty as charged) will just find it maddening, inscrutable, and alienating. Check it out, then take your side in the debate.
  95. The Little Hours
    Writer-director Jeff Baena adapts parts of Boccaccio’s Decameron into an absurd and hysterical tale of nuns gone wild.
  96. Okja
    Okja in it. It’s the antithesis of cookie-cutter, made-by-committee filmmaking. Prepare to be amazed, grossed out, provoked, punchdrunk, and tickled.
  97. Baby Driver
    With Wright in the driver’s seat, your standard getaway driver story is transformed into a giddy, adrenaline-filled joyride that’ll leave you gripping the edge of your seat and tapping your feet.
  98. War for the Planet of the Apes
    Like Caesar and company, the films seem to be getting more intelligent and human as they evolve.
  99. The Beguiled
    For all that lavish calibration, its beauty is a little remote, too — so beguiled by style that it forgets, or simply declines, to make us feel too much.
  100. Transformers: The Last Knight
    Monster metal, mass destruction, Anthony Hopkins saying “dude.” This is your brain on Michael Bay—a cortex scramble so amped on pyro and noise and brawling cyborgs it can only process what’s happening on screen in onomatopoeia: Clang! Pew-pew! Kablooey!
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