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. A Tale of Love and Darkness
    Portman’s evocation of this world has a strange, captivating pull. Assisted by the great Polish cinematographer Slawomir Idziak (Gattaca, Black Hawk Down, The Double Life of Veronique), she has created a visual landscape filled with nightmares.
  2. Kingsglaive: Final Fantasy XV
    Instead of trying to adapt the video game experience into a film format, Kingsglaive transforms the movie-going experience into something familiar to video game fans. It’s essentially a really long cutscene.
  3. Morris from America
    The definition of a crowd-pleaser.
  4. War Dogs
    A lot of what makes War Dogs work comes down to Hill, who is operating at maximum density here physically (he reportedly gained weight specifically for the role) but whose unhinged charisma also anchors the movie.
  5. Anthropoid
    British director Sean Ellis has a knack for staging the film’s early plotting-the-scheme scenes in dimly lit, monochrome interiors, but the storytelling is disappointingly square.
  6. Ben-Hur
    This arena, unfortunately, is no Thunderdome. The chariot race is sloppily framed, choppily edited, and droopily choreographed, with special effects that look like they needed another few passes through the CGI machine.
  7. Kubo and the Two Strings
    A visually stunning, richly imagined oasis in a sea of candy-colored safety, and one of the first truly original movies of the year so far.
  8. Hell or High Water
    Hell or High Water isn’t a flashy movie, but it has an undeniably resonant sense of small-scale justice, not to mention an authentic sense of place that will remind you of other Texas-set masterpieces like John Sayles’ "Lone Star" and the Coen brothers’ "No Country for Old Men." See it, and then spread the word.
  9. Florence Foster Jenkins
    It would be easy to mine Jenkins’ story for silly farce and 1940s set pieces and let it coast from there, but director Stephen Frears (Philomena, The Queen) is too kind, and too nuanced, to do that. Even when she’s murdering a high C, his Florence finds the melody.
  10. Blood Father
    A violent, grungy, Peckinpah-lite action thriller that’s worth checking out just to be reminded how powerful an actor Mel Gibson continues to be even—if the parts aren’t coming like they once were.
  11. Pete's Dragon
    If your kids can get through the first five minutes of Pete’s Dragon (which rank right up there with the shooting of Bambi’s mother on the Disney trauma-o-meter), then you won’t find a sweeter family film for the waning days of summer.
  12. Sausage Party
    Conceived by the conjoined comedic minds of Seth Rogen, Jonah Hill, and Evan Goldberg and baked (in more ways than one) for more than eight years, the movie looks like Pixar but plays like "Pineapple Express" unleashed among actual pineapples.
  13. Nine Lives
    Watching these videos of actual cats, all of whom have racked up countless views on YouTube, just serves to underscore how unfunny and neutered Nine Lives actually is.
  14. Little Men
    Jake and Tony’s journey through early teendom never feels empty.
  15. The Little Prince
    At its inventive best—like the creation of a little cloth fox who never speaks but steals almost every scene he’s in—it does capture the odd, tender wonder of his world.
  16. Suicide Squad
    Writer-director David Ayer (End of Watch) skillfully sets up the film, introducing each of the crazies with caffeinated comic-book energy. But their mission...is a bit of a bust. The stakes should feel higher.
    • 68 Metascore
    • 67 Critic Score
    Equity
    Unfortunately, Equity sometimes buckles under the weight of its self-imposed, gendered duty. In attempting to say so much about women vs. women in a cutthroat industry, it paints itself almost too seriously.
  18. Indignation
    The dean was more of a cartoon in Roth’s book, but Letts lends him a slippery wit that, much like the movie, is surprisingly potent.
  19. Gleason
    The result is a candid testament to not only Gleason himself but the many people who love him.
  20. Bad Moms
    Beneath all of its hard-R partying, rebellious debauchery, and profanity, it taps into something very real and insidious in the zeitgeist. It’s one of the funniest movies of the year—and one of the most necessary.
  21. Nerve
    This is a film about young people with a youthful energy and sense of fun that’s refreshing, especially in the summer of movies we’ve had so far. The tone and relatively low stakes allows Nerve to be shallow, divertive escapism—kind of like Snapchat.
  22. Jason Bourne
    Director Paul Greengrass (Captain Phillips, United 93) has always had a taste for the topical and political, and his third Bourne outing augments the usual truth-and-justice talking points with a strenuously current nod to digital privacy issues via a Zuckerberg-like social-media mogul (Riz Ahmed). If anything, he underplays those assets, shorting deeper story development for exotic zip codes, bang-up fisticuffs, and adrenalized chase scenes.
  23. Don't Think Twice
    Don’t Think Twice isn’t all envy and self-doubt; Birbiglia has also crafted a love letter to improv, capturing the tempestuous and unforgiving art form in a way that only an insider could.
  24. Lights Out
    This movie purposely inspires viewers to think about serious topics, and then disregards the consequences of doing so, undermining the whole enterprise. The final physical sensation is not terror or relief, but disgust.
  25. Ice Age: Collision Course
    The Ice Age series was never great cinema, but there’s always been a sense of heart under all the wisecracks and zany antics. Collision Course abandons that in favor of already stale pop culture references and laughless jokes.
  26. Star Trek Beyond
    Beyond is more fun than deep. It’s lightweight, zero-gravity Trek that is, for the most part, devoid of the sort of Big Ideas and knotty existential questions that creator Gene Roddenberry specialized in.
  27. Absolutely Fabulous: The Movie
    Ultimately though, it’s all secondary to Saunders and Lumley’s riotous chemistry together.
  28. Equals
    Director Drake Doremus carefully constructs an us-against-the-world romance for Silas and Nia (an idea he pulled off beautifully in the underrated 2011 drama "Like Crazy," starring Felicity Jones and the late Anton Yelchin) and provides them with a rogue band of fellow thought rebels, including Guy Pearce and Jacki Weaver.
  29. The Infiltrator
    The Infiltrator may not be as innovative as "Breaking Bad," but it sure is fun to watch Cranston at his best again, masterfully walking the tightrope between good and bad.
  30. Ghostbusters
    With a cast as daring and quick as this one, Ghostbusters is too mild and plays it too safe.
  31. Men Go to Battle
    The shaggy, semi-focused but assuredly offbeat debut film from Zachary Treitz (co-written with House of Cards actress Kate Lyn Sheil) blends the Civil War with Mumblecore for one of the year’s most authentic trips in the way-back machine.
  32. Mike and Dave Need Wedding Dates
    Efron and Devine are an endearingly loony duo, and as much as Plaza and Kendrick never quite sell their vixen shtick, the supporting cast is wickedly stacked. It’s like riding a roller coaster fueled by Red Bull and grain alcohol: kind of gross but pretty fun, too.
  33. Cell
    While it’s nice to see Cusack and costar Samuel L. Jackson downplay rather than go big, Cell has a been-there-done-that quality that winds up feeling a bit disappointing.
  34. The Secret Life of Pets
    Like a dog that endlessly chases its tail in circles, Pets is amusing for a while, then it just tires itself out.
  35. Captain Fantastic
    It’s a testament to writer-director Matt Ross, who is probably best known as an actor on shows like Big Love and Silicon Valley, that Captain skirts cliché as well as it does; his indictments of both contemporary emptiness and misguided idealism feel earned, even if it all ties up a little too Sundance-tidy in the end.
  36. Fathers and Daughters
    Fathers and Daughters’ predictable plot keeps it from ever becoming a truly enjoyable tearjerker.
  37. Our Little Sister
    Despite fine intentions and four lovely performances from the female leads, Our Little Sister is simply too light to be felt. It floats away in the wind—and the memory — like a paper umbrella.
    • 77 Metascore
    • 75 Critic Score
    Zero Days
    A sense of duty and morals doesn’t render Gibney infallible as a storyteller, however, as even passion for justice sometimes breeds overindulgence when you’re drunk with power and a camera.
  39. Life, Animated
    The Suskinds’ humongous hearts are obviously in the right place and their openness is to be admired and encouraged — even if a book, more than a movie, remains the better venue to fairly and honestly tell Owen’s extraordinary story.
    • 75 Metascore
    • 91 Critic Score
    Microbe and Gasoline
    By the end of Microbe & Gasoline, we feel a little closer to the boy who made the man behind the camera as a result.
  41. The Purge: Election Year
    If, on the other hand, it’s sleazy kicks you’re after, you’ll be in exploitation heaven. Because writer-director James DeMonaco’s third chapter in the thrill-kill vigilante franchise is the best and pulpiest Purge yet.
  42. The Legend of Tarzan
    You just wish — after two solid but oddly joyless hours — that Legend strained less to hit its marks, and swung a little more.
  43. Independence Day: Resurgence
    Disposable and shockingly inept.
  44. The Fundamentals of Caring
    Caring may be fundamental, but it never quite feels necessary.
  45. Swiss Army Man
    A hot, strange mess that never quite comes together the way it should.
  46. The Neon Demon
    The dialogue, most of which is stilted philosophy about femininity and beauty, sounds like something your freshman-year roommate said and you learned to ignore.
  47. The BFG
    Parents looking for a 21st-century E.T. to share with their kids are bound to be a bit disappointed even as their eyes are dazzled.
  48. Wiener-Dog
    In Wiener-Dog, Solondz just keeps telling the same dark joke over and over again—and it just keeps getting less and less funny. It’s a dog.
  49. Hunt for the Wilderpeople
    The film is maddeningly uneven. Just as it starts to settle into an inspired groove, it uncorks a couple of gags that fall lethally flat, making for half of a great comedy.
  50. Our Kind of Traitor
    The film, while gorgeously shot, is schematic and wholly implausible. But Skarsgård saves it; wild and funny and ferociously alive, he’s a crucial bolt of color in all that tasteful gray.
  51. The Shallows
    The Shallows could have been a really fun B-movie. And in a lot of ways, it is. There’s no denying that it has some great jump-scares and scratches a certain summer itch we all get this time of year. Too bad it’s a bit too watered down.
  52. The Duel
    The plot may be fairly predictable, but Harrelson goes all in as the deranged preacher, and he’s a delight to watch, whether he’s wiggling his eyebrow tattoos or prancing about town on horseback, dressed in an all-white suit. Hemsworth, on the other hand, remains monotone.
  53. Free State of Jones
    Ross wants to shake up the format­—notably with a few scenes set 85 years after the war—but like so many directors who have tackled ­historical social issues before him, he confuses noble, cornball sermonizing for art.
    • 52 Metascore
    • 58 Critic Score
    Central Intelligence
    While not necessarily a diamond-in-the-rough itself, Central Intelligence proves that Johnson has always been at the center of his own ring, in more ways than one. It just took the rest of us (and Hollywood) a little longer to notice.
  55. Raiders!: The Story of the Greatest Fan Film Ever Made
    Tim Skousen and Jeremy Coon’s new documentary, Raiders!: The Story of the Greatest Fan Film Ever Made, isn’t the kids’ finished film. It’s a film about the making of their film — and it’s amazing.
  56. Tickled
    David Farrier and Dylan Reeve’s documentary Tickled is so crazy that it feels like a hoax. Only it’s not. At least, I don’t think it is.
  57. The Wailing
    Despite its epic length, The Wailing never bores as Na slathers his tale with generous supplies of atmosphere and awfulness.
  58. De Palma
    As De Palma shows us, whether he’s got two more films left in him or two dozen — Holy Mackerel — what a career!
  59. Finding Dory
    It’s not Toy Story or Inside Out or even Nemo. What it is is a perfectly enjoyable family film that’s comforting, familiar, and a bit slight, like one of those serviceable Lion King spin-offs that Disney used to ship straight to DVD back in the ‘90s.
  60. Warcraft
    It’s soulless, incoherent, Renaissance Faire hooey. And since the latest iteration of game series that inspired it, World of Warcraft, already peaked years ago, even the timing is off.
  61. Genius
    The movie — dutifully shot in shades of old-timey sepia — does get better as its staginess falls away, but far too much drama stays on the page.
  62. Now You See Me 2
    Jon M. Chu (several Step Up movies) has taken over directing duties from Louis Leterrier, and he has a lighter, goofier touch. He seems to get that the silliness is baked in.
  63. Popstar: Never Stop Never Stopping
    If it’s not exactly unforgettable, it’s still pretty fun.
  64. Approaching the Unknown
    The film doesn’t seem particularly interested in grappling with any of those issues beyond the most superficial level.
  65. Teenage Mutant Ninja Turtles: Out of the Shadows
    So while Out of the Shadows may not be any smarter than the first installment (or really all that smart at all), it’s certainly a lot more fun.
  66. The Conjuring 2
    There are some solid scares (Wan is too gifted in the dark art of gotcha manipulation to not make you leap a few times), but there’s nothing on par with the first film’s brilliant hide-and-clap scene with Lili Taylor. If there’s going to be a Conjuring 3—and this movie is just decent enough to suggest there will be—our heroes should be a little choosier about which case they dust off next.
  67. The Witness
    The powerful thrust of the film comes from its critique of the media.
  68. The Do-Over
    The plot threads can be a little hard to follow, especially since most of them revolve around two unseen characters who are dead before the story even begins, but Sandler and Spade’s partnership gives the whole enterprise enough emotional grounding to make up for it.
  69. Maggie's Plan
    Sometimes that tips too far into silliness (the final scene, especially, works strenuously towards an end-cute); still, its mildly subversive rom-com sensibilities are just sour-sweet enough to pull it off.
  70. Me Before You
    The film will feel familiar to anyone who’s sniffled through "Love Story" or "The Fault in Our Stars." It’s better than both.
  71. Weiner
    If this soap opera wasn’t real, you’d never believe it.
  72. The Angry Birds Movie
    The 3-D animated film delivers a mildly diverting mix of winky meta-jokes and moral lessons, cannily aimed at both the next generation of tiny consumers and their more sophisticated parents.
  73. Neighbors 2: Sorority Rising
    You’ll probably laugh hard more than once; Sorority Rising is still rich in bikinis and bong rips and boner jokes. It just doesn’t have much heart.
  74. The Nice Guys
    Gosling and Crowe have a surprisingly fizzy, ferret-and-bull chemistry, and the hedonistic Me Decade setting is groovy.... But the one-liners and shoot-outs feel a bit threadbare, handed down from older, better Shane Black movies.
  75. Sunset Song
    The film takes a false turn in its final act, but there is a certain melancholy enchantment in Davies’ golden-hued countryside. When a crowd sings “Auld Lang Syne” at a wedding reception, he makes you feel the tender warmth of a hearth fire alighted in the world.
  76. High-Rise
    There are certain movies that you really want to like based on their ambition, or their weirdness, or their ambitious weirdness, and ultimately you just can’t. Ben Wheatley’s High-Rise is one of those movies.
    • 87 Metascore
    • 83 Critic Score
    Love & Friendship
    Stillman gives the romantic roundelay a deliciously modern feminist twist that ends up being a bit too slight and patly resolved, but over all too soon.
  78. The Lobster
    If you’re willing to surrender to his singular vision, you might just walk out of the theater seeing the world in a new way — which is probably more than you can expect from the new Kevin Hart comedy.
  79. Money Monster
    As a solid B-movie elevated by A-list talent and pushed along by a brisk running time — it’s only 98 minutes—Money has its own rewards.
  80. Alice Through the Looking Glass
    For better or worse, Looking Glass loses none of the first film’s muchness, with Bobin mimicking both his predecessor’s wildly saturated style and his general disregard for plot and substance.
  81. X-Men: Apocalypse
    Apocalypse feels like a confused, kitchen-sink mess with a half dozen too many characters, a villain who amounts to a big blue nothing, and a narrative that’s so choppy and poorly cut together that it feels like you’re watching a flipbook instead of a movie.
  82. Elstree 1976
    There are some stretches of the film that are frankly a bit boring and wouldn’t be missed if they were cut.
  83. Bridgend
    Based on a real-life rash of teen suicides in Wales, Danish director Jeppe Rønde’s 2015 Tribeca winner feels like the sort of slow BBC America procedural you’d quickly give up on.
  84. Bite
    It seems to exist merely to spoil your appetite.
  85. A Bigger Splash
    This reworking of the 1969 erotic thriller "La Piscine" beautifully explores the difficulties of communication. Aging rock star Marianne Lane (Tilda Swinton), muted by vocal surgery, is dealing with Harry (Ralph Fiennes), a former flame.
    • 29 Metascore
    • 42 Critic Score
    Ratchet & Clank
    The looming notion that Ratchet & Clank’s story and characters already exist (in playable form, to boot) consistently tugs us away from the film at hand and into the nearest GameStop, where we’re free to browse the shelves for a far more satisfying experience.
  87. Keanu
    Even if it can’t compete with the best highlights from their TV show, Keanu is a solid first step into movie stardom for both Key and Peele.
  88. Mother's Day
    If you love your mother, do not make her see this movie.
  89. The Man Who Knew Infinity
    Unfortunately, the film is nowhere near as innovative as its subject.
  90. The Family Fang
    Based on the best-selling 2011 novel, Fang is directed by Bateman with a sensitivity that the story’s sour whimsy doesn’t quite deserve.
  91. Viva
    Havana’s crumbling trapped-in-time beauty also plays a starring role, but it’s Medina who provides the movie’s raw, tender heart.
  92. Special Correspondents
    What Gervais may have previously turned into a pointed satire of the news media instead becomes a flimsy farce that’s surprisingly low on laughs.
  93. Captain America: Civil War
    Despite its stars-and-stripes title, Marvel’s latest billion-dollar-blockbuster-to-be, Captain America: Civil War, is essentially a third Avengers movie – it’s also the best one yet.
  94. Elvis & Nixon
    As a surreal slice of history served up nearly half a century later, it feels oddly satisfying: A reminder not just of simpler times, but of all the other wild untold stories we may never know, just because no camera was there to capture them.
  95. A Hologram for the King
    If it sounds like Hologram is basically about a middle-aged white guy getting his groove back in the Middle East, well, yes, it is that. But if you squint hard enough, it’s also a little bit more.
  96. Holidays
    Some of the films are haunting, some of them more macabre, but all of them play with holiday symbolism in way that will make viewers rethink a lot of their favorite celebrations.
  97. The Meddler
    Her character, reportedly based on writer-director Lorene Scafaria’s own mother, isn’t drawn with any particular depth or nuance (and the broad New Yawk accent Sarandon tries on is about as authentically Brooklyn as a Sara Lee bagel).
  98. The Huntsman: Winter's War
    It’s the movie equivalent of a cake that’s all frosting.
  99. Nina
    Saldana (Avatar, Guardians of the Galaxy) is an accomplished and bankable actress, but she doesn’t look much like Simone. That has led to several complaints, including from the Simone estate.
  100. Rio, I Love You
    Vincente Amorim weaves each short together with lots of sweeping panoramas of the city, and the end result feels less like a collection of love stories and more like a bland tourism ad.
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