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. Silence
    At 160 stately, glacial minutes, it’s also an endurance test — one that can feel like its own act of faith to pass.
  2. Patriots Day
    Patriots Day benefits from a robust, concentrated timeline and sheer bat-out-of-hell pacing.
  3. Why Him?
    It all works in theory. But the execution’s off.
  4. Passengers
    Passengers is not very good. In fact, it’s pretty bad.
  5. Collateral Beauty
    These actors are too good to be entirely sunk by the sheer silliness of the material (with the exception of Smith, who seems fully committed to playing the role of a human frown-face emoji).
  6. Rogue One: A Star Wars Story
    Rogue One would have been a very good stand-alone sci-fi movie if it came out under a different name. But what makes it especially exciting is how it perfectly snaps right into the Star Wars timeline and connects events we already know by heart with ones that we never even considered.
  7. All We Had
    The directorial debut of actress Katie Holmes, starring herself as Rita, a drunk single mother living out of her car, is the latest well-intentioned yet lousy-with-clichés treatment in the hard-luck-woman subgenre.
  8. La La Land
    It’s stunningly ambitious and thrillingly alive the way the best movies are.
  9. Frank & Lola
    Shannon’s intensity is the best thing Frank & Lola has going for it. And it’s almost enough to make it work.
  10. Office Christmas Party
    Aniston has a great time as the vampy, Krav Maga-ing Bitch Who Stole Christmas, and Miller’s willful idiocy is weirdly endearing.
  11. Man Down
    Director Dito Montiel splinter’s the film’s story on multiple tracks, in a truly shameless and incredibly obvious effort to protect a Big Twist.
  12. Jackie
    In its audacious strangeness, the movie manages to do something history hardly ever gets to: surprise us.
  13. Always Shine
    The too-clever conceit sabotages the whole thing.
  14. The Eyes of My Mother
    The film has a stunningly hypnotic look thanks to Zach Kuperstein’s crisp black-and-white ­cinematography. It feels like a waking nightmare. It’s just enough to make you wonder how a film that’s so ugly managed to look so damn good.
  15. Best and Most Beautiful Things
    The film’s overall effect lets the person — not the condition — be the real story, one that’s worth sharing.
  16. Best Worst Thing That Ever Could Have Happened
    A love letter to the theater—and a deeply poignant one at that—Lonny Price’s sentimental documentary Best Worst Thing That Ever Could Have Happened… is a bittersweet gem.
  17. The Love Witch
    The Love Witch is so thin that if it turned sideways it would be invisible. It’s like a Bewitched episode stretched out to two hours. But boy, is it gorgeous to look at.
  18. Miss Sloane
    Chastain fully commits to her boss-bitch persona, even if we only obliquely learn why she might have chosen such a lonely, mercenary life.
  19. Bad Santa 2
    As long as you know what you’re in for, the film is a hilarious good time, a respectable continuation of what made the first "Bad Santa" so fun.
  20. Lion
    Where Saroo goes and what he finds there left me in tears, but you feel that a complicated true story has been airbrushed into a postmodern legend.
  21. Rules Don't Apply
    It turns out that Rules Don’t Apply is hardly about Hughes at all. Instead, it’s a small-scale, lovingly filmed study of the blossoming romance between two fictional show-business newbies.
  22. Allied
    There’s something decidedly old-fashioned about the new Brad Pitt-Marion Cotillard spy thriller, Allied. And that ends up being a good thing.
  23. Manchester by the Sea
    Affleck has never had a role that matches his minimal, anti-charisma style like this one. His tendency to be mumbly and awkward and withholding fits his character perfectly. And Hedges, as a temperamental teenager working through loss in his own authentically teenage way, is a real discovery. Michelle Williams, as Lee’s ex-wife, doesn’t get many scenes, but she cracks your heart open in the ones she has.
  24. Nocturnal Animals
    The movie’s lofty narrative ambitions never quite catch up with its aesthetics, but it’s still a fantastic beast of a film, intoxicating and strange.
  25. The Edge of Seventeen
    Thankfully, Fremon Craig’s script is smart and sensitive enough not to gloss over the real pain lurking beneath Nadine’s bravado as she deals with the aftermath of her dad’s death, her best friend’s betrayal, and the fact that the right guy (Hayden Szeto) might not be the one with the best bangs.
  26. Bleed for This
    With the exception of maybe two scenes, you’ve seen everything in this movie before.
  27. True Memoirs of an International Assassin
    True Memoirs is harmless, disposable junk food that has just enough laughs to make you feel like you didn’t get scammed.
  28. Fantastic Beasts and Where to Find Them
    Fantastic Beasts is two-plus hours of meandering eye candy that feels numbingly inconsequential.
  29. Elle
    We get to watch another unforgettable and incomparable Huppert performance.
  30. Billy Lynn's Long Halftime Walk
    The weirdest and rarest misfire in Lee’s illustrious career.
  31. The Monster
    Like "The Strangers," the result is a simple but skillfully told shocker.
  32. Almost Christmas
    In all, it’s a pleasant enough way to spend two quiet hours with the extended family, but Almost Christmas probably won’t be your next holiday tradition.
  33. Arrival
    That’s the movie’s greatest feint, though: Ultimately, it’s far less interested in galactic destiny than the infinite, uncharted landscape of the human heart.
  34. Moana
    Moana has a lot of the hallmarks of your classic Disney adventure — the goofy animal sidekicks, the feel-good messages — but its heroine is something new, a smart and fiery deviation from your standard European lovestruck princesses.
  35. Trolls
    Trolls doesn’t reach for the emotional resonance of DreamWorks’ more ambitious efforts; its lessons of loyalty and kindness are standard-issue, and tear ducts remain untapped. Still, the movie’s serotonin pumps like a fire hose. It’s almost impossible not to surrender to the bliss.
  36. Hacksaw Ridge
    Despite its promise, Hacksaw never really delves into the moral grays; it’s just black and white and red all over.
  37. By Sidney Lumet
    As an introduction to a first-class director who shouldn’t require any introduction at all, By Sidney Lumet is a thoughtful and thought-provoking treat.
    • 72 Metascore
    • 75 Critic Score
    The Eagle Huntress
    The movie’s restrained second half stuns, ranking as one of the most magical stretches of nonfiction filmmaking in recent years.
    • 42 Metascore
    • 75 Critic Score
    Inferno
    Bourne it is not, but the twists come with enough regularity to keep the squishier parts of the plot from mucking up the works.
  40. Doctor Strange
    Doctor Strange is thrilling in the way a lot of other Marvel movies are. But what makes it unique is that it’s also heady in a way most Marvel movies don’t dare to be. It’s eye candy and brain candy.
  41. In a Valley of Violence
    Two key aspects elevate the whole experience above its modest trappings. First, the dark, beautiful musical score by composer Jeff Grace works excellently as a lush, hummable homage to Ennio Morricone, while still feeling very true to West’s horror movie roots. And second, in the film’s best performance, John Travolta appears as the frustrated father of Ransome’s bad boy.
  42. Ouija: Origin of Evil
    Effective horror relies on the actualization of some deep-seated cultural fear, but Ouija: Origin of Evil supplies only ineffective clichés and half-hearted attempts at franchise building.
  43. Moonlight
    Easily one of the most personal and most powerful films of the year.
  44. The Handmaiden
    So suspenseful, sexy, and surprising that it would be a shame to say any more.
  45. Keeping Up with the Joneses
    Between Zach Galifianakis, Isla Fisher, Jon Hamm, and Gal Gadot, Keeping Up with the Joneses has a stacked cast, but thanks to a tepid script from Michael LeSieur (You, Me and Dupree), they don’t actually get that much to do.
  46. Jack Reacher: Never Go Back
    Like its predecessor it’s an unremarkable placeholder until the next "Mission: Impossible" flick comes along.
  47. Certain Women
    It isn’t until the wonderful Gladstone comes along with her aching tomboy heartache and sad seeking eyes that the film finally burrows below the surface and finally hits a dramatic nerve. Unfortunately, by then, it’s too little too late.
  48. American Pastoral
    As hard as they work to add nuance, Connelly is trapped in mad-housewife hysteria, Fanning’s a brat, and McGregor never really rises above a strange, stunned blandness. It’s a noble effort, almost completely lost in translation; give it an American pass.
  49. Desierto
    A classed-up B-movie riff on "The Most Dangerous Game." Call it “Tex-Mexploitation.”
  50. Christine
    Shot in the goldenrod-and-avocado palette of the ’70s and dabbed with incongruous soft-rock lullabies, the movie itself is both painfully intimate and strangely opaque on the subject of mental illness, taking us deep inside Christine’s disintegration even as it never quite figures out what it wants to say about it.
    • 74 Metascore
    • 67 Critic Score
    Little Sister
    Timlin and Paulson create a believable rapport as the central siblings, though it’s Sheedy’s chemistry with the camera (and her character) that creates the film’s most dramatically satisfying moments.
  52. Kevin Hart: What Now?
    Hart’s exuberance make him a captivating performer — and his energetic delivery helps even the most mediocre jokes land.
  53. Tower
    Tower allies itself with the heroes on the ground and the immeasurable courage they displayed, risking everything for the sake of strangers. That’s a story worth telling, one worth remembering, and what makes Tower a must-see.
  54. The Accountant
    The whole thing’s ludicrous, down to the last loony twist, but it’s also a lot more fun than Batman v Superman.
  55. Voyage of Time: The IMAX Experience
    Voyage of Time is a beautiful diversion, but almost entirely empty, even in its inquisitive big swings for profundity.
  56. Under the Shadow
    Under the Shadow is a skilled, chilling feature debut that might follow you around a while after seeing it.
  57. Mascots
    If you’re a Guest devotee, you’ll be in the stands cheering; otherwise, Mascots feels like a bit of a retread.
  58. The Birth of a Nation
    A big, unabashedly ambitious picture, heavy with the weight of history. But its best moments turn out to be the smaller human ones.
    • 69 Metascore
    • 91 Critic Score
    Blue Jay
    Instead of treating puppy love like child’s play, Blue Jay savors the fantasy of foundations built in adolescence, kindled while the heart is still young, and draws out the agonizing reality that romance ultimately fizzles out of necessity as we age and mature.
  60. The Girl on the Train
    [Taylor] deftly translates the bleak, raw-boned menace and tricky time signatures of Train’s intertwined plotlines, and draws remarkably vivid performances from his cast, particularly his two female leads.
  61. Masterminds
    Masterminds has been “coming soon” for so long it would put "Batman v Superman" to shame, but the end result is an entertaining comic thriller with physical showcases for many of Saturday Night Live’s best recent veterans.
  62. Amanda Knox
    What you end up with are portraits of individuals — people who are scared or angry or ambitious — all a part of a story that, from the start, ignored their humanity.
  63. A Man Called Ove
    Holm’s adaptation is a darkly funny, tragic, and ultimately heartwarming tearjerker about the life of one lonely but extraordinary man.
  64. 13th
    13th is a titanic statement by a major American voice. Viewing — right now — should be mandatory.
  65. American Honey
    For the most part it succeeds, gorgeously — though it will probably make anyone over 30 feel either mildly outraged or wildly irrelevant.
  66. Denial
    Sadly, it’s hamstrung by a patchy script (by David Hare) and an oddly flat-footed performance by Rachel Weisz as Lipstadt.
  67. Deepwater Horizon
    What works almost disturbingly well is the way Berg calibrates his delivery of the disaster while still holding on to the human scale of it.
  68. Miss Peregrine's Home for Peculiar Children
    The film chooses style over substance, emphasizing how cool the children’s powers are without fleshing them out as full characters. To compete with Burton’s best, his heroic weirdos need a little more heart—and the monsters need sharper teeth.
  69. Goat
    Schnetzer, whose stock is sure to soon rise, is a shape-shifter — you’d never look at this gay Irish 1980s activist in Pride and conclude that it was the same person — but in only a few roles so far, he’s shown an extraordinary ability to portray both vulnerability and the mask screwed on to hide it.
  70. My Blind Brother
    Its tired indie trappings (arrested development, dull cynicism) turn the film into its own kind of marathon.
  71. The Magnificent Seven
    This Seven’s just silly, solid entertainment: multiplex fun by numbers.
    • 73 Metascore
    • 58 Critic Score
    Queen of Katwe
    Nyong’o’s gravitas is undercut by a script teeming with wooden platitudes, special lessons learned, and the overbaked dialogue of a Joan Crawford melodrama.
  73. Storks
    There’s a delightfully madcap pace to Storks, and most of the rapid-fire jokes land.
  74. Operation Avalanche
    The movie’s premise has trouble sustaining a feature-length running time, getting mired in repetitive jokes and a third-act swing into harder-core suspense that never really connects.
  75. Command and Control
    The pace of the drama is riveting, as it jumps back through the decades to place the accident in the context of the nuclear arms race.
    • 65 Metascore
    • 75 Critic Score
    Miss Stevens
    Though its heart beats with the same blood as something like "Lost in Translation," in which a daunting age gap inspires lasting platonic chemistry between two drifting souls, Miss Stevens feels fresh in its take on human vulnerability.
  77. Blair Witch
    Blair Witch is the Hollywoodication of a film that defied the industry, and it works because of the profound respect for the original that hides beneath camera work that’s too good and a cast that’s too attractive.
  78. Snowden
    It somehow manages to make a fascinating, utterly contemporary narrative feel like old news.
  79. The Disappointments Room
    There simply aren’t enough scares to build tension throughout.
  80. Ithaca
    In all, Hanks’ casting feels like a missed opportunity—much like the rest of Ithaca.
  81. London Road
    The result, alas, is totally bolloxed, as a Brit might say, by execution.
  82. Demon
    A so-so meditation on historical amnesia. It’s also so weighted down with mysticism and metaphor it forgets to quicken your pulse or whiten your knuckles.
  83. Other People
    Somehow, almost miraculously, Shannon makes her character become stronger as she gets weaker. It’s a wonderful performance.
  84. Transpecos
    Transpecos is a lean-and-mean atmospheric thriller that starts off tautly but ultimately slackens as it goes along.
  85. Author: The JT LeRoy Story
    Even when the film fails to ask so many of the questions its narrative begs, Author is still a tricky, fascinating look at the strange nexus of art, artifice, and the intoxicating cult of celebrity.
  86. Bridget Jones's Baby
    The script contains some genuinely uproarious laughs and is sharper than it needs to be, even if some of the jokes feel as old as Bridget’s condoms.
  87. Sully
    The reason why the movie works at all is Hanks.
    • 65 Metascore
    • 83 Critic Score
    White Girl
    Somewhere between Catherine Hardwicke’s "Thirteen" and Harmony Korine’s "Spring Breakers" lies the rebellious mood of Elizabeth Wood’s White Girl, a Sundance firecracker that easily finds its place among the cinematic canon of great dramas cut from the good-girl-gone-bad cloth.
  89. Yoga Hosers
    Unless you’re Kevin Smith, don’t expect Yoga Hosers to be funny or clever or well directed. It isn’t for you.
  90. The Light Between Oceans
    The whole thing is feverishly earnest and more than a little manipulative, but it’s also possibly the prettiest two hours of emotional ­masochism so far this year.
  91. The Hollars
    Is The Hollars an original, breathtaking dramedy that says anything new about middle-class suburbia and family? No. But with a brisk runtime and a terrific cast, it’s a pleasant and bittersweet look at one family struggling to keep it together.
  92. The Intervention
    Tears are shed. Laughs are had. Some jokes land better than others. The script wobbles between heavy-handed and touching, but the result is a pleasantly nostalgic throwback that’s saved from its copy-cat tendencies by charismatic actors.
  93. Morgan
    Is Morgan hardwired for violence, or is “she” just a synthetic naïf with a bloody glitch? Taylor-Joy and the rest of the ace cast make you care about the answer to that question. The script? Less so.
  94. Mechanic: Resurrection
    No one involved in Resurrection seems like they can be bothered to break a sweat. It’s a movie made by folks who know they can do better but couldn’t be bothered.
    • 58 Metascore
    • 83 Critic Score
    Complete Unknown
    Complete Unknown is perhaps most titillating when it quietly observes moments between its central duo, two long-lost lovers hurling nearly two decades’ worth of unresolved pain at each other over the course of a single evening.
  96. Hands of Stone
    Falls victim to too many trite boxing-movie clichés and is in way too much of a rush to cover too much narrative ground. It sometimes feels like you’re watching it with a finger on the fast-forward button.
  97. Southside with You
    Southside doesn’t hang on epiphanies; instead, it delivers something more modest: a tender, unrushed love story.
  98. Don't Breathe
    Thought-provoking but rather lacking in the second-by-second scares genre fans tend to expect.
  99. Train to Busan
    The result is first-class throughout.
  100. Imperium
    Subtlety is not Imperium’s strength. But as a solid thriller, it’s far more successful, and Radcliffe is brilliant as the quick-on-his-feet agent.
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