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. 47 Meters Down
    As far as cheap warm-weather junk food goes, it will suffice. It will have to.
    • 65 Metascore
    • 75 Critic Score
    Maudie
    Like one of the many flowers Maud painted in the single-room, seaside shack she and Everett shared, Maudie is breezy and digestible. On an aesthetic level, Maud’s creations aren’t that interesting, but Maudie cherishes the intent of the artist above all, acknowledging that a true work of art is often found in exploring why the brush is moved in the first place.
  3. 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.
  4. Rough Night
    A raunchy, wildly off-the-rails farce from the team that more or less brought you Broad City.
  5. Cars 3
    Fee steers Cars 3 like the sleek piece of movie machinery it is—a standard ride with a half-full tank, a gorgeous paint job, and not much at all under the hood.
  6. My Cousin Rachel
    A gothic moodpiece masquerading as a thriller, My Cousin Rachel is a misdirected swoon of a movie—long on black-veiled romance and ravishing atmosphere and a little short, alas, on dividends.
  7. Megan Leavey
    Megan Leavey is one of those strong-arm soaps, and it certainly doesn’t hurt that it has a certain secret weapon in the forced-waterworks department—an adorable bomb-sniffing German shepherd. All together now: Awwwwww.
  8. Beatriz at Dinner
    Years from now, when the orbital politics of the film have dissolved, what will resonate about Beatriz at Dinner will be the sight of Hayek — leaps and bounds more enchanting a screen presence than the performers surrounding her — as a poignant object of neglect.
  9. It Comes at Night
    With his follow-up, It Comes at Night, Shults has conjured another master class in anxiety, claustrophobia, and dread. He’s a natural-born filmmaker.
  10. The Mummy
    I’m not sure that this aimless, lukewarm take on The Mummy is how the studio dreamed that its Dark Universe would begin. But it’s just good enough to keep you curious about what comes next.
  11. Captain Underpants: The First Epic Movie
    One day, Captain’s pint-size viewers will undoubtedly move on to Marvel’s spandex universe; until then, they’ve got this sweet, silly starter kit.
  12. Dean
    As a result, the movie comes across like a bunch of “bits” when it really should be getting at deeper emotions and truths. Then again, Woody Allen, another comedian-turned-writer/director, ran into that same problem back at the beginning of his career. And he ended up doing okay.
  13. Wonder Woman
    Wonder Woman is smart, slick, and satisfying in all of the ways superhero films ought to be. How deliciously ironic that in a genre where the boys seem to have all the fun, a female hero and a female director are the ones to show the fellas how it’s done.
  14. War Machine
    It’s a smart, sharp spitball of a film, but it would’ve been better with a smaller, subtler hammer.
    • 78 Metascore
    • 83 Critic Score
    Long Strange Trip
    It’s all about finding the gems, and Long Strange Trip is a treasure chest.
  16. Baywatch
    Honestly, I’ve seen more narratively ambitious Mad Libs.
  17. Pirates of the Caribbean: Dead Men Tell No Tales
    What we get is the usual mash of swashbuckling nonsense and soggy mythology: There will be romance, and revelations, and some silly gold-plated cameos (hello there, Sir Paul McCartney! And whoops, goodbye). Through it all, Norwegian duo Joachim Rønning and Espen Sandberg (the Oscar-nominated Kon-Tiki) feel less like directors than shepherds.
  18. Everything, Everything
    Director Stella Meghie sidesteps the pitfalls of your typical YA movie, delivering a gorgeous and sweet story that you can’t help but fall in love with.
  19. Wakefield
    Cranston is utterly hypnotic as a certain kind of American male on the verge of a nervous breakdown.
  20. The Woman Who Left
    The Woman Who Left may not be a movie for everyone, but if you allow yourself to settle into its leisurely tempo and marinate in its heroine’s journey, it can be a richly rewarding experience.
  21. I Am Heath Ledger
    What it does offer, however, is a touching celebration of his life — and it largely does so by using a collection of home videos Ledger recorded throughout his career.
  22. The Commune
    The movie may feel minor next to Vinterberg’s more serious work, but it’s more personal, too: A messy, tender window into the world that shaped him.
  23. Manifesto
    The goal of any manifesto is making its aims as clear as possible. But it’s never clear what this Manifesto is aiming for besides a cheeky roll call of intellectual camps. Ph.D.s in art theory will chuckle knowingly as everyone else eyes the exit.
  24. Paris Can Wait
    An airy, half-baked meringue of a movie, Paris Can Wait is the kind of film that leaves you famished — not just for la belle vie on screen but for the stronger sustenance of plot and character.
  25. Snatched
    As Snatched’s blonde-leading-the-blonde farce careens on, it stumbles into moments of deranged inspiration.
  26. King Arthur: Legend of the Sword
    King Arthur could have been a rollicking blast. Instead it’s just another wannabe blockbuster with too much flash and not enough soul.
  27. Alien: Covenant
    Gross-outs and gotchas are fun, but they wouldn’t amount to much if Covenant wasn’t so thoroughly well-crafted.
  28. Chuck
    Schreiber buoys the film with his characteristic blend of nuance and smirking humor, exuding likability though never lionizing the self-described “selfish prick” that he’s portraying.
  29. 3 Generations
    Director Gaby Dellal (On a Clear Day) admirably avoids the trap in which transgender characters are portrayed as victims, but she way overcranks the “movie” neuroses of her three characters, muffling any human spark.
  30. The Dinner
    On paper, writer-director Oren Moverman’s The Dinner has all the ingredients for what should be a four-star feast. But from the opening course, it’s clear that something has gone wrong in the kitchen. Moverman, the chef, has tried to make his creation too clever and complicated.
  31. The Circle
    It’s a movie that desperately wants to be timely and relevant, warning us about the Brave New World threats we all face when it comes to privacy, surveillance, and freedom. But it’s so cartoony and ham-fisted it sabotages its own argument.
  32. Sleight
    You’d hope that a film like this could put a bold new spin on the superhero story. The reverse is true: Here we are in 2017, and even our nifty low-budget crime movies are building a cinematic universe, and saving the best stuff for the sequel.
  33. Casting JonBenét
    A clever filmmaking experiment? Without a doubt. A satisfying one? Not so much.
  34. Guardians of the Galaxy Vol. 2
    It’s smarter than most films, but not as smart as the first one. It’s funnier than most films, but not as funny as the first one. And it still probably belongs in the upper tier of Marvel movies but nowhere near as high up as the first one.
  35. Free Fire
    If you’ve always believed that the climactic Mexican standoff in "Reservoir Dogs" should have been the whole movie, then you’ll love Free Fire.
  36. Unforgettable
    Surprisingly tasty serving of delirious junk food.
  37. The Happiest Day in the Life of Olli Mäki
    It’s the quiet, simple moments between Olli and Raija that stick with you, whether he’s giving her a ride on the handlebars of his bicycle on their way to a country wedding or skipping stones across the smooth surface of a lake.
  38. The Promise
    Even lush set pieces and a raft of prestige players (including Shohreh Aghdashloo, James Cromwell, and Jean Reno) can’t fulfill the movie’s pretty, ultimately empty promise.
  39. Norman: The Moderate Rise and Tragic Fall of a New York Fixer
    Cedar has created a classic cautionary tale in Norman, and Gere flawlessly turns his tragic hero into someone who’s sympathetic and human.
  40. The Fate of the Furious
    The movie Tokyo-drifts into tedium in its more chaotic, casually gruesome chase scenes, and the “serious” dialogue is so consistently clunky it feels like it’s been carved from woodblocks with a dull butterknife. Thankfully, it’s frequently also much funnier and lighter on its feet than previous outings, and a lot of that credit goes to Statham and Johnson.
    • 40 Metascore
    • 42 Critic Score
    Smurfs: The Lost Village
    A saccharine fantasy-adventure that’s sure to tide the tots over until a shinier one (Cars 3, anyone?) comes along to take its place.
  42. Going in Style
    A lazy hash of cheap geezer gags and spoon-fed sentiment.
  43. Salt and Fire
    In Salt and Fire, a bad movie but an intriguing vacation slideshow, Michael Shannon and Veronica Ferres play “characters” (unconvincing, undimensional) and speak “dialogue” (expository, flat).
  44. Gifted
    In the end, what should be a three-hankie, ugly-cry tearjerker feels unnuanced, overplotted, and mechanical. Frank and Mary deserved better.
  45. Colossal
    Even if the script’s psychological reach ultimately falls short, Colossal is still a clever, comic, wildly surreal ride — right up until the last sucker-punch frame.
  46. The Boss Baby
    Like many DreamWorks movies, The Boss Baby‘s most imaginative moments are the random asides.
  47. Ghost in the Shell
    If there’s anything Sander’s ravishing set pieces fail to sufficiently color in, it’s the movie’s emotional stakes.
  48. The Zookeeper's Wife
    Even at its most engaging (those cubs!), Zookeeper can’t help evoking the dozens of films that have told these stories before, and better.
  49. Life
    If you lower your sights a few pegs and go in looking for a solid, tight B-movie that builds right until the final shot, there’s a lot to like.
  50. CHIPS
    While CHIPS sure is goofy, it falls flat compared to other buddy-cop comedies in its genre, relying too heavily on unpleasant sex jokes (often revolving around gay panic) and a nonsensical crime plot.
  51. Bokeh
    There’s a seed of an interesting, Twilight Zone premise here — what would you do if you were the last two people on earth? But Bokeh doesn’t seem to know what to do with it besides have its photogenic Adam-and-Eve leads take long nature walks, play board games, and upgrade their living conditions.
  52. Wilson
    Wilson has some deliciously awkward laughs thanks to Harrelson’s curmudgeonly, childlike performance, but it zips right along without ever landing any emotionally resonant blows.
  53. Saban's Power Rangers
    Most movies like Power Rangers get the first-half Y.A. character stuff wrong and the second-half smashy-smashy action stuff right. This one does just the reverse.
  54. The Belko Experiment
    Belko is an appropriately disreputable, gleefully disturbing movie.
  55. T2 Trainspotting
    The good news is that the film’s four lead actors all slip seamlessly back into their onscreen alter egos as if they’ve been keeping tabs on them all these years.
  56. Frantz
    Every one in the film, down to the smallest characters on the fringes, is keeping secrets and spinning lies. And those lies beget more lies and more until the truth is a distant memory. It’s what can happen when life feels too overwhelming and unbearable to face.
  57. Song to Song
    In terms of content and meaningfulness, Terrence Malick’s Song to Song is the cinematic equivalent of a Trump press conference. Incoherent, disconnected, self-interrupting, obsessed with pointless minutiae and crammed full of odd, limp stabs at profundity from a closed-off man in his 70s who apparently has no ability to edit or accept constructive criticism.
  58. Raw
    Raw is unsettling and repulsive and, believe it or not, occasionally funny. It’s got audacity and style, and it packs an undeniably wicked punch.
  59. Burning Sands
    There isn’t much room for nuance in his script, and the movie’s darkness (literally: too many poorly lit nighttime scenes are more heard than seen) undermines its message. But there’s something powerful even in its predictability.
  60. Personal Shopper
    Stewart, who appears in nearly every scene, is intensely watchable, a coiled spring. But the movie is too fragmented and tonally strange to register as more than one of Maureen’s wispy, haunted apparitions.
  61. Beauty and the Beast
    It’s fine and funny and sweet and lush and some of the songs are infectious, but I still don’t completely understand why it exists — and why they couldn’t do more with it.
  62. The Freedom to Marry
    If the 
story’s outcome is hardly a 
mystery — the landmark case was affirmed by a 5–4 margin in June 2015 — and the look of the film itself a little docu-drab, it’s also a shrewd and frequently moving testament to the true nature of change.
  63. Table 19
    Slight even by the wafer-thin standards of the wedding rom-com genre, writer-director Jeffrey Blitz’s Table 19 offers a couple of mild chuckles, six actors who’ve all been far better elsewhere, and a mercifully brief running time.
  64. The Last Word
    Shirley MacLaine’s well-deserved reputation as a salty, snappy grand dame — forged from later-career work like "Terms of Endearment," "Steel Magnolias," "Postcards from the Edge," "Bernie", etc. — unfortunately precedes her in this sloppy, saccharine drama costarring Amanda Seyfried.
  65. Before I Fall
    A teen melodrama that’s steeped in clichés but still has an unexpectedly poignant message.
  66. Kong: Skull Island
    Hiddleston and Larson are especially let down by the script, which wants to be jokey in the way that something like Predator was, but can’t pull it off. The same lack of care goes into the period-specific song choices that have as much imagination as a Time-Life Songs of the ‘70s set.
  67. The Girl with All the Gifts
    It’s a film for people who thought they never needed to sit through another zombie flick.
  68. Get Out
    Peele is undeniably a born filmmaker with big ambitions and an even bigger set of balls. He’s made a horror movie whose biggest jolts have nothing to do with blood or bodies, but rather with big ideas.
  69. Logan
    The loner has to learn to put someone else first. It’s both as manipulative and hokey as that sounds, but occasionally it works well enough that you might find yourself getting choked up against your better judgment.
  70. In Dubious Battle
    For all its noble intentions, though, the movie struggles to transcend broad outlines: Its characters are strictly symbols, timeworn archetypes of good and evil as threadbare and familiar as the artfully faded calicos and denim on their backs.
  71. The Great Wall
    The Great Wall looks like it could be a really amazing video game. Alas, it’s a movie, and kind of a brick.
  72. Fist Fight
    The jokes are downright sophomoric… and sparse.
  73. A Cure for Wellness
    Narratively preposterous and probably an hour too long, it’s the year’s first big howler. It could have been DeHaan’s "Shutter Island," but instead it’s just Gore Verbinski’s latest self-indulgent mess following "The Lone Ranger."
  74. Land of Mine
    Land of Mine is essentially bomb porn.
  75. A United Kingdom
    It’s their quiet devotion and enduring dignity that give A United Kingdom not just a romantic center, but its soul.
  76. The LEGO Batman Movie
    LEGO Batman revs so fast and moves so frenetically that 
it becomes a little exhausting by the end. It flirts with being too much of a good thing. But rarely has corporate brainwashing been so much fun and gone down with such a delightful aftertaste.
  77. Fifty Shades Darker
    Darker is strangely plotless and devoid of any real tension.
  78. John Wick: Chapter 2
    The idea of a secret world of professional killers adhering to a set of civilized conventions may sound absurd, but it’s what makes the Wickverse more intriguing and far richer than the usual numbskull orgy of cinematic nihilism.
  79. Rings
    As a threequel, Rings suffers a bit from franchise fatigue. It tries to fix that by giving viewers an even deeper look at the mythology of Samara and the videotape, with mixed results.
  80. Dark Night
    It’s also a haunting, thought-provoking piece of work, made infinitely more powerful by all the things it chooses not to show.
  81. War on Everyone
    Crass, senseless, and relentlessly talky, War on Everyone mostly seems like a movie at war with itself.
  82. The Space Between Us
    The Space Between Us attempts to take young love to literally new heights before crash-landing into an earthbound hash of schmaltzy clichés and romantic absurdities.
    • 40 Metascore
    • 75 Critic Score
    The Comedian
    The Comedian explores the dynamics of such unorthodox attraction with its heart in the right place, but for all of its performative charm, it still suffers the untimely misfortune of following an old, white man grousing about the state of affairs as the world diversifies around him.
  84. Resident Evil: The Final Chapter
    The climax makes for a satisfying conclusion to the franchise—an ending which this writer expects, and even hopes, all concerned will studiously ignore when they get around to making the next one.
  85. The Salesman
    By the film’s shattering end, you’ll feel the spirit of Arthur Miller, one of the great dramatists of the 20th century, reaching across the transom to touch one of the great dramatists of the 21st.
  86. A Dog's Purpose
    Purpose itself plays like a family film from another era, its gentle sensibilities a million miles removed from the winky pop culture references and meta layers of most modern all-ages entertainment. The effect is sweet, benignly retro, and just a little bit boring; a comforting Milk Bone for the soul.
  87. I Am Not Your Negro
    If there’s a flaw with the film (and it’s a minor one), it’s Peck’s impulse to cram it with clips from lily-white Doris Day movies and John Wayne Westerns that are a bit too on the nose.
  88. The Red Turtle
    Lavish with stunning imagery, the experience will ripple into your dreams.
  89. The Book of Love
    It’s a diabetically sappy big-screen self-help seminar that should have been titled The Book of Schmaltz.
  90. Monster Trucks
    The final result is… rather unspectacular.
  91. Underworld: Blood Wars
    While the film may justify its title in terms of the viscera on display, it is badly in need of a funny bone.
  92. I, Daniel Blake
    Loach’s film isn’t as stridently political as it probably sounds. These are just proud people who want to be treated with respect. There’s one slightly melodramatic turn near the end that felt off, but by then I was already three tissues deep.
  93. A Monster Calls
    Bayona packs his tale with spellbinding visuals and honest emotion, and if the ending doesn’t reduce you to tears, you may be the real monster.
  94. Hidden Figures
    Charged with streamlining Figures’ knotty real-life histories, director Theodore Melfi (St. Vincent) tends to paint too much in the broad, amiable strokes of a triumph-of-the-week TV movie. But even his earthbound execution can’t dim the sheer magnetic pull of an extraordinary story.
  95. Paterson
    Even though Jarmuch has a distinct directorial style, it’s his style. It’s impossible to imitate. These days, I can’t think of a higher compliment.
  96. Assassin's Creed
    Here’s a film that turns Michael Fassbender into a puppet, and oh, those strings hold him down.
  97. The Autopsy of Jane Doe
    The Autopsy of Jane Doe is essentially a 90-minute episode of Jack Klugman’s late-’70s TV show "Quincy, M.E." with more graphic gore, goo, and guts.
  98. Live by Night
    Live by Night is clearly Affleck’s love letter to classic pulp, and almost no noir touchstone goes unturned in its two-hour-plus run.
  99. Fences
    It’s as good as screen acting gets.
  100. 20th Century Women
    Plotwise, Women is a wisp; as a mood piece, though, it’s almost irresistibly rich.
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