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. Sing Street
    It’s like a lost John Hughes movie with Irish brogues and cars that just happen to drive on the other side of the road. It’s also, sadly, exactly the kind of sweet little film that too often gets buried in a box office ruled by broader comedies and bloated superhero epics
  2. Barbershop: The Next Cut
    Even when it falls short of its aim to get every last Beyoncé joke and Big Idea onscreen, the movie still offers what any barbershop worth its repeat customers provides: An hour or two of good company, and the feeling that you’re leaving a little sharper than when you came in.
  3. Criminal
    Criminal’s story moves like a fat cow. Costner and Oldman’s characters are sluggishly chasing after — irony alert! — a big black duffel back full of $100 bills, hidden behind a stack of George Orwell books.
  4. Green Room
    Part of being in a punk band involves having to play some pretty hostile venues. But the one in writer-director Jeremy Saulnier’s new white-knuckle thriller, Green Room, makes the typical mosh-pit dive look like a kindergarten run by nuns.
  5. Hush
    Flanagan’s taut direction reinforces his rep as an up-and-comer we will hopefully be hearing much more from.
  6. The Jungle Book
    The Jungle Book is a tender and rollicking fable that manages to touch on some grown-up themes about man’s destructive power and the loss of youthful innocence without losing sight that it’s first and foremost a gee-whiz kids adventure.
  7. The Invitation
    Kusama ratchets the story’s tension masterfully, building to a final shot that’s as chilling as it is perfect.
  8. Louder Than Bombs
    While Byrne is solid (as always) and Eisenberg is restrained (a relief after his manic Lex Luthor), it’s newcomer Druid whose scenes pack the most power and force.
  9. Mr. Right
    The ludicrous action-flick plot slows to a crawl whenever Kendrick and Rockwell aren’t on screen.
  10. The Boss
    A few moments are fantastically bonkers, but granting director duties to McCarthy’s husband, Ben Falcone, feels more like an act of love than wisdom.
  11. Demolition
    Jake Gyllenhaal’s wild-card performance is the only reason to bother with "Dallas Buyers Club" director Jean-Marc Vallée’s manipulative downer.
  12. Hardcore Henry
    A hypercaffeinated first-person action flick that teeters somewhere between gonzo insanity and a nausea-inducing endurance test.
    • 77 Metascore
    • 83 Critic Score
    The Dark Horse
    How The Dark Horse differs from similar based-on-a-true-story dramas like "Remember the Titans" and "Freedom Writers" is the deeply personal focus on the mentor’s own family struggles and mental illness.
  14. Everybody Wants Some!!
    There’s Glen Powell as Finn, the endearing loquacious smoothie; there’s Juston Street as Jay, the psycho loose-cannon fireballer; and Wyatt (son of Kurt) Russell as Willoughby, the older, sage-like stoner who quotes Carl Sagan after ripping bong hits.
    • 65 Metascore
    • 50 Critic Score
    The Confirmation
    The Confirmation becomes a string of father-son misadventures that lack memorable characters or engaging dialogue.
  16. Everything Is Copy
    Copy celebrates a brilliant storyteller and her lacerating wit...but also recalls a woman who could be bossy, presumptuous, and sometimes mean. To the end, though, she was adored.
  17. Fireworks Wednesday (2006)
    Farhadi’s intrigue doesn’t feel like the stuff of a Hollywood thriller. It’s more realistic, more pedestrian than that – which gives it a real ring of low-key emotional truth.
  18. Krisha
    It’s a small, modest film, but its impact is anything but.
  19. My Big Fat Greek Wedding 2
    The winking ethnic jokes weren’t all that revolutionary in the first film, and this time around, they feel even more stale.
  20. Batman v Superman: Dawn of Justice
    I get that this mano a supermano story line is a sacred text among comic-book aficionados, but Dawn of Justice doesn’t do the tale any favors. It’s overstuffed, confusing, and seriously crippled by Eisenberg’s over-the-top performance.
  21. Pee-wee's Big Holiday
    A lot of us have really missed Pee-wee, and seeing him go through his fun-house morning regimen at the outset of the film is a giddy treat. It’s like catching up with an old friend. But nostalgia gets you only so far.
  22. The Divergent Series: Allegiant
    Allegiant aches to be a thought-provoking, moving allegory of the current world. Instead, it’s an unwieldy two hours too unintentionally silly to validate how seriously it takes itself.
  23. The Bronze
    The Bronze has a loony Napoleon Dynamite–meets–Talladega Nights-on-the-balance-beam charm. Hope may be a giant jackass, but she’s America’s jackass.
    • 44 Metascore
    • 16 Critic Score
    Miracles from Heaven
    Miracles From Heaven stands firm atop a sloppily made case for faith over logic and spirituality over science, and for that, it’s challenging to view as a film instead of judgmental ideology in cinematic drag.
  25. Midnight Special
    As father and son speed toward some doomsday reckoning, Nichols keeps us guessing in a way that evokes "Close Encounters of the Third Kind." Midnight Special is a more modest, more enigmatic film than that one was, but it’s no less gripping.
  26. Remember
    A twisted helix of "Memento" and "Munich" without either of those film’s craft, depth, or thematic murkiness.
  27. The Young Messiah
    As this year’s other Jesus movies go, at least Risen managed to add new characters and perspective to one of the world’s most well-known stories. The Young Messiah struggles to hold its audience’s attention.
    • 41 Metascore
    • 42 Critic Score
    The Perfect Match
    As if to make up for the predictable main plot, The Perfect Match is bogged down with a slew of uninteresting B-stories.
  29. The Brothers Grimsby
    Here’s what you didn’t expect: That The Brothers Grimsby, an upstairs-downstairs spy comedy, would be Cohen’s best work in a decade.
    • 59 Metascore
    • 83 Critic Score
    Barney Thomson
    Ultimately, Barney Thomson’s roots are exposed too easily, and the question of “where’d they get that from?” often trumps our curiosity of where the film at hand is going, and that’s a problem.
  31. Ava's Possessions
    Krause’s deadpan wit, coupled with the inspired scenes at Spirit Possessions Anoymous, make Ava’s Possessions a fun, fresh take on a genre staple.
  32. The Other Side of the Door
    The true horror of The Other Side of the Door is that Maria, too, has kicked off a vicious cycle of unnatural destruction, as the movie makes clear in its hard-hitting final punchline.
  33. Eye in the Sky
    Aaron Paul has key scenes as the drone pilot who actually has to pull the trigger, but it’s the late Alan Rickman, as Mirren’s superior, who steals the film.
  34. Creative Control
    Creative Control is a much more modest film (both visually and thematically) than something like Her or Ex Machina, but it never feels hamstrung by its limitations. If you go with its future-shock flow, it will cast a spell that feels like something between a dream and a nightmare.
  35. 10 Cloverfield Lane
    For a rookie director, Trachtenberg appears to be a real craftsman, even if what he’s crafting doesn’t add up to as much as you hope it will.
  36. The Wave
    The visual effects are excellent, but director Roar Uthaug, who’s been tapped to reboot the "Tomb Raider" franchise, splashes in the clichés of big, dumb American action movies.
  37. Emelie
    Those scenes do allow star Sarah Bolger to showcase her range as a babysitter gradually transforming from sweet to sinister.
  38. London Has Fallen
    The new sequel, London Has Fallen, implausibly ups its predecessor’s stakes to "Die Hard in the City of London." Unfortunately, widening the scope this dramatically causes the entire fragile action-movie axis to spin wildly out of control.
  39. Knight of Cups
    Essentially shapeless and paced like the tide rolling in, Knight of Cups should be reserved for hardcore Malick fans only, those who have the patience to metaphorically wade through the literal wading, which there happens to be a lot of in this movie.
  40. Zootopia
    Zootopia delivers the genre’s requisite barrage of quick-hit puns and pop culture riffs.
    • tbd Metascore
    • 58 Critic Score
    Ratter
    Ratter definitely delivers an effective paranoia creep-factor towards the end, but first, the audience has to get through about 45 minutes of just watching Ashley Benson cook eggs, shave her legs, and dance in her living room.
  42. Whiskey Tango Foxtrot
    What work better in the movie are mostly smaller moments: the jokes that land, the rapport between the reporters, and all the weirdly ordinary ways people manage to find a new normal, even in the most WTF circumstances.
  43. Crouching Tiger, Hidden Dragon: Sword of Destiny
    It’s a shame the rest of the soap-opera story doesn’t measure up to its stunts.
  44. Only Yesterday (1991)
    Only Yesterday may have been released in 1991 and take place in 1982 and 1966, but Taeko’s reflection on girlhood is truly timeless.
  45. Gods of Egypt
    A shoddy special-effects howler that makes a hash out of both Egyptian mythology and human logic.
  46. Boy and the World
    With his crudely drawn stick-figure body and big, round Wiffle-ball head, Cuca is a bundle of jitterbug energy and boundless imagination. Like Riley’s in "Inside Out," his noggin is a wondrous place to spend an hour or two.
  47. Eddie the Eagle
    The movie version of his life, fittingly, is a massive vat of hot cocoa with a mountain of whipped cream on top — sweet and warm and made with a ­mission to satisfy everyone who takes a sip.
  48. Theeb
    The narrative sparseness of Theeb does not also apply to its cinematic virtues, which offer plenty for audiences to chew on, whether they’re looking for a non-traditional western adventure or trying to win their office Oscar pool.
  49. Forsaken
    Donald spits hot fire and brimstone, but Kiefer remains as bland an avenging angel of action as ever.
  50. Triple 9
    The most impressive thing about Triple 9 is that it somehow manages to be both predictable and incoherent at the same time. Well, that and the fact that it manages to make half a dozen good actors look really lost.
    • 69 Metascore
    • 67 Critic Score
    The Mermaid
    The Mermaid is at its best when it embraces the ridiculous, no-holds-barred, farcical comedy that Chow has become known for, thanks to films like Kung Fu Hustle and Shaolin Soccer.
  52. Risen
    Risen is more entertaining than Bible-adjacent stories are usually allowed to be.
  53. Race
    Credit Race for showcasing its hero’s human flaws, but the movie unfortunately lets him get away with them a little too easily (his grand makeup gesture to Ruth comes off more creepy than romantic).
  54. Embrace of the Serpent
    While its strange rhythms may not be for everyone, it does provide something unusual in today’s movies: a truly original experience for the mind and the soul.
  55. Touched With Fire
    Touched With Fire has something to say about a thorny, serious subject, but the light it shines doesn’t really illuminate anything new.
  56. A War
    Once again, the shaky handheld camerawork in the battle scenes don’t portray chaos so much as a sense that the cinematographer was being attacked by desert bees
    • 42 Metascore
    • 75 Critic Score
    Lazer Team
    It’s the confidence and energy of the four leads that keep the comedy moving forward.
  58. The Witch
    What makes this chillingly creepy little black-magic folk tale work so beautifully is its evocative sense of time and place.
  59. Funny or Die Presents: Donald Trump's the Art of the Deal: The Movie
    It’s utterly demented, slightly terrifying, and most of all hilarious. It’s also one of the giddiest and most stinging political satires since Thomas Nast took on Tammany Hall.
  60. How to Be Single
    How to Be Single is a lot like its Jager-bombing, romance-seeking protagonists: Cute and goofy and kind of a mess.
    • 32 Metascore
    • 67 Critic Score
    Regression
    While Regression does, for the most part, deliver simmering suspense — and with Watson and Thewlis together, it’s fun (and weird) to see a mini-Harry Potter reunion — the script often falls flat, and the film sometimes leans too heavily on the score to telegraph an ominous tone.
  62. Tumbledown
    Tumbledown is a sweetly poignant look at what it means to move on.
  63. Rams
    The film’s glacial pacing and drily absurd tone mimic their relationship with a bit too much discipline.
  64. Misconduct
    The movie’s silly-arty aesthetic is regurgitated Polanski, and there’s a shameless script steal from "Presumed Innocent."
  65. The Club
    The result is expectedly harrowing and heartbreaking, making for a difficult watch that will reward those with saintly patience.
  66. Zoolander 2
    Zoolander No. 2 is embarrassing, lazy, and aggressively unfunny. The only good news is that at the pace the franchise is moving, we won’t get Zoolander 3 until 2030.
  67. Deadpool
    It doesn’t have the most adrenalized action sequences or the deepest origin story. What it has is the balls to mess with the formula and have some naughty, hard-R fun. It’s a superhero film for the wiseasses shooting spitballs in the back of the school bus.
  68. The Choice
    The Choice feels like Mad Libs with some of Sparks’ laziest clichés — a romantic rowboat, a colorful small-town carnival, a jealous upper-class boyfriend — and the result is a predictable, recycled mess.
  69. Hail, Caesar!
    It's Coen lite, basically, but still filled with their best signatures: cracked humor, indelible characters, and cinematography so rich and saturated you want to dunk a cookie in it.
  70. Pride and Prejudice and Zombies
    The result should appeal to Austen aficionados and horror hounds alike—which is not a sentence you get to write too often.
  71. Fifty Shades of Black
    The film manages to be surprisingly subversive with its humor.
  72. Jane Got a Gun
    Since the film’s last-minute rewrites, casting switcheroos, and musical chairs behind the camera are irrelevant to the actual quality of the movie, I’ll avoid rehashing them here, save to say that the disarray shows on screen.
  73. Monster Hunt
    The plot is even more nonsensical than it sounds, but the monsters’ high-energy antics and the humans’ martial-arts skills make for a delightfully bizarre adventure romp.
  74. The Boy
    The Boy, from director William Brent Bell, aims to set itself squarely in the fictional canon of "Chucky" and its brethren, but it ends up trying to do so much that it forgets to scare us.
  75. Kung Fu Panda 3
    Just complicated enough to reward steady viewers and just simple enough for parent escorts to enjoy without much prior knowledge.
  76. JeruZalem
    The niftily claustrophobic use of actual Jerusalem locations offers a nice holiday from the more familiar backdrops favored by the POV genre.
  77. The Finest Hours
    An intermittently affecting, sanded-edge adventure that feels as if it trundled off the studio production line back when Eisenhower was in office.
  78. Dirty Grandpa
    Dirty Grandpa feels like spending 100-plus minutes with a scatalogical toddler, proudly showing you what he made in his diaper. Don’t look if you don’t have to.
  79. The 5th Wave
    The frankly preposterous nature of the film’s setup is rendered slightly less so by a couple of second act reveals. But, by then, many viewers will have lost interest in a movie with a very high bodycount but a very small amount of grit, either emotional or literal.
  80. The Benefactor
    Gere, an actor capable of great nuance, hams it up so mightily you’d think the film was sponsored by Boar’s Head.
  81. A Perfect Day
    Del Toro’s low-key resignation gives the film what power it has, but the female characters (played by Mélanie Thierry and Olga Kurylenko) are disappointingly thin.
  82. Norm of the North
    The animation already looks dated, and it feels as lazy as the bland narrative.
  83. 13 Hours: The Secret Soldiers of Benghazi
    There’s a real story of American heroism somewhere in here, but it’s diluted by Bay’s worst tendencies.
  84. Ride Along 2
    Ride Along 2, which moves the action from Atlanta to Miami, plays more like a remake than a sequel.
  85. Timbuktu
    Visually dazzling and morally devastating.
  86. The Forest
    Perhaps the biggest problem with The Forest is that it’s ultimately not very scary.
  87. Lamb
    Based on a lauded 2011 novel of the same name, Lamb is about as strange as it sounds: a Lolita story almost more unsettling for the lines it doesn’t explicitly cross.
  88. Yosemite
    Franco gives one of his most subtle performances yet as a recovering-alcoholic father, and the three young newcomers’ performances are honest and affecting, capturing what it feels like to be adrift and on the verge of adolescence.
  89. Anesthesia
    The cast (which includes Glenn Close, Sam Waterston, Kristen Stewart, and Corey Stoll) is strong, but the movie itself is a little exhausting, like a New York cousin to Paul Haggis’ Crash, with a smaller budget and a bigger vocabulary.
  90. Anomalisa
    It’s obvious that Kaufman has always seen the world differently from the rest of us. And even if it takes a little time to settle into Anomalisa’s disorienting, herky-jerky groove, Kaufman ends up bewitching us with his fresh take on the oldest and most hackneyed of cinematic themes: boy meets girl…and anxiety ensues.
    • 42 Metascore
    • 67 Critic Score
    Daddy's Home
    Anders had many opportunities to pit the dads against each other directly, but trades in the cheesy, expected route for devious mind games.
  92. 45 Years
    Courtenay is a gruff and gratifyingly knotty presence, but in the end it’s Rampling’s movie. In a quiet, beautifully calibrated performance completely stripped of actressy tricks, she’s a revelation.
  93. Where to Invade Next
    Where to Invade Next is so heartfelt and sincere, it’s tempting to say that Moore’s mellowed with age. But beneath its innocent-abroad optimism, the film has a stinging truth that’s hard to ignore.
  94. Concussion
    Director Peter Landesman, who also helmed last year’s political thriller "Kill the Messenger", doesn’t color much outside the lines of conventional drama. But his straightforward telling actually serves the strong cast and taut script — and a story that would be deemed too outrageous to believe if it wasn’t true.
  95. Alvin and the Chipmunks: The Road Chip
    The Road Chip fails to even cross to the low bar of Slang & Fart movies — though, in its defense, it’s also barely a movie.
  96. Son of Saul
    It’s the rarest kind of moviegoing experience: an absolute masterpiece.
  97. Star Wars: Episode VII - The Force Awakens
    The ending he’s come up with for The Force Awakens feels so perfect it’s hard to imagine it any other way. In an age when we’ve all become binge watchers, we feel as if it’s become our right to immediately roll right into the next episode, the next sequel. And when The Force Awakens ends, it’s bittersweet because you so badly want to head right into the next chapter.
  98. Sisters
    There’s really no not-terrible term for smart, silly female-bonding movies that are somehow considered subversive just for acing the Bechdel Test.... Sisters earns a spot in that pantheon, however it’s defined—even if it’s never quite as good as its leads.
  99. The Hateful Eight
    The Hateful Eight doesn’t have enough ideas. Set almost entirely in a snowed-in saloon, the story’s so spare it doesn’t warrant either its three-hour running time (including an overture and intermission) or his use of 70mm projection. It’s narratively and visually claustrophobic.
  100. In the Heart of the Sea
    Howard’s film, for all of its storytelling skill, technical polish, and rousing high-seas sequences, never quite casts the spell it should. It’s too polite to give us a real feeling of life or death. Its sense of danger is watered down.
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