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. Joy
    If only Russell trusted Mangano’s true story. Instead, he’s turned her life into a over-staged mess of awkward exposition, contrived dialogue, and characters so willfully unreal they feel acrylic.
  2. The Big Short
    I suppose you could call The Big Short a comedy. It’s very, very funny. But it’s also a tragedy. Behind every easy drive-by laugh is a sincere holler of outrage.
  3. The Revenant
    Gorgeously shot by cinematographer Emmanuel Lubezki, Iñárritu’s savage endurance test of a film almost works better as a series of stunning images and surreal sequences than as an emotionally satisfying story.
  4. Krampus
    Full credit to director Michael Dougherty (Trick ‘r Treat) because this is great-looking movie, filled with freaky creature designs and a just-right mixture of practical effects and CGI.
  5. Chi-Raq
    Erupting like a scalding geyser from the ground right beneath our feet, Spike Lee’s daring, dizzying, sympathetic, symphonic, vital, vehement Chi-Raq is the most urgently 2015 movie of 2015.
  6. Janis: Little Girl Blue
    The portrait that emerges is one of a brash, talented girl who grew up an outcast in her small Texas town.
  7. Youth
    As it is, Youth is hit-and-miss, beautiful and frustrating.
  8. Macbeth
    The film’s raw performances get upstaged by Kurzel’s medieval shock-and-awe palette. The text has been streamlined to make room for more brutal mud-and-blood battle sequences, hauntingly shot by Adam Arkapaw.
  9. Hitchcock/Truffaut
    The best part is getting to hear both men talk about their art in exhaustive, almost fetishistic detail. If you’re a classic movie buff, this is a must-see.
  10. Victor Frankenstein
    Only Radcliffe escapes unscathed, lending Igor a convincing psychology despite the ham-fistedness of the material. But he’s not enough of a reason to resurrect this story again.
  11. The Danish Girl
    It feels like a movie that’s been lovingly crafted and put under glass in a museum. And I kept waiting for it to move me more than it did.
  12. The Good Dinosaur
    While the story attempts the moves that a Pixar film typically makes—nonverbal storytelling, death, a bittersweet ending—most of The Good Dinosaur’s punches land soft, made worse by the disconnect that exists between the overly cartoonish style of the characters and the photorealistic landscapes.
  13. Secret in Their Eyes
    In Ray’s hands, it’s essentially a grim procedural with too many moments of untapped potential and a moderately shocking twist. Save his version for a rainy day or a long airplane ride; or better yet, go rent the original.
  14. The Night Before
    In its own druggy, dick-pic way, it’s also a pretty endearing tribute to male friendship — hammy and crude and more baked than a fruitcake, but with a sweetly squishy holiday heart at its center.
  15. Legend
    The film’s saving grace is Hardy, who is as ferocious and watchable as ever, acting smooth and brooding as Reggie and unhinged as Ronnie.
  16. Steve McQueen: The Man & Le Mans
    Engrossingly intimate documentary.
  17. Mustang
    It’s not hard to see why Mustang has been dubbed the “Turkish Virgin Suicides.” Like Sofia Coppola’s dreamy, unsettling 1999 debut, it’s another first film by a young female director that focuses in feverish close-up on the adolescent awakening of five restless, radiant sisters — and the ruin that follows when their family tries to contain it.
  18. Heist
    The heist in Heist is pretty pedestrian, and the film turns into Die Hard-on-a-bus with a couple of so-so twists and serviceable spasms of action. If that’s what you’re looking for, rent Speed instead.
  19. James White
    In the best scene, which comes late in the film, James holds his dying mother and shares a vision of their future that they both know she’ll never get to see.
  20. Creed
    In the end it’s a movie about legacy, and it more than preserves the Rocky franchise’s. It reminds you why it was great in the first place.
  21. The 33
    An inspired fantasy sequence midway through hints at the more intriguing movie The 33 might have been; instead, its tragedy-to-triumph narrative aims mostly for width, not depth.
  22. Carol
    Like "Far From Heaven," Carol mines society’s narrow-mindedness and the dangers of living a double life. But what was true more than a half century ago remains true now: The heart wants what it wants, society and propriety be damned.
  23. Love the Coopers
    Even with such a talented ensemble, Love The Coopers’ convoluted narrative and overreliance on Christmas clichés keeps it from sparking any real holiday magic.
  24. By the Sea
    Jolie Pitt, who also wrote and directed, shows a lot of skin (her own and her cast’s) without ever really getting under it. Misery doesn’t just love good-looking company; it needs an emotional center and a satisfying narrative arc, too.
  25. Shelter
    Its intentions are noble. Its gaze is harshly realistic. But it’s also overly melodramatic. Bettany has the makings of better director than screenwriter.
  26. Brooklyn
    Ronan, who’s made a habit of giving us sparkling turns since she was a kid in 2007’s Atonement, delivers a dazzlingly mature performance.
  27. All Things Must Pass
    In this passionately nostalgic documentary, actor-turned-director Colin Hanks brings that era back to life, tracing the rise and fall of Russ Solomon’s retail music chain, which first opened its doors in Sacramento in 1960.
  28. Trumbo
    How could a movie about a great screenwriter have such a terrible screenplay?
  29. Miss You Already
    A movie about love and loss that doesn’t dissolve into soft focus when the hard parts start.
  30. The Hunger Games: Mockingjay - Part 2
    With its political power struggles and prodigious body count, all rendered in a thousand shades of wintry greige, the movie feels less like teen entertainment than a sort of Hunger Games of Thrones.
  31. The Diplomat
    Directed by Holbrooke’s son, David, the film balances poignant political insight with a heartfelt narrative about a man trying to reckon with his absent father’s legacy.
  32. Flowers
    The film is undercut by long metaphorical stretches that dampen their impact.
  33. Scouts Guide to the Zombie Apocalypse
    It doubles down on gross-out sight gags that 13-year-old boys should find hilarious, if no one else.
  34. Spotlight
    Tautly directed by Tom McCarthy (The Visitor), the film hums as a tense shoe-leather procedural and a heartbreaking morality play that handles personal stories respectfully without losing sight of the bigger, more damning picture.
  35. The Peanuts Movie
    The film disappointingly ditches the cartoonist’s modest visual formula for a photorealistic 3-D playground courtesy of the animation studio behind "Ice Age."
  36. SPECTRE
    It’s possible that Skyfall created expectations that were too high for Spectre to match. But with all he’s done for the franchise, Craig deserves to go out with a bigger, smarter bang.
  37. Nasty Baby
    Subverting expected narratives may have been Silva’s aim all along; still, the turn isn’t just nasty, it’s confounding.
  38. Love
    The big draw should be 3-D, which enhances the visual intimacy, though only in shooting a male orgasm does Noé go gonzo with the format.
  39. Burnt
    Just when you think you know where Burnt is headed, there’s an underhanded twist about halfway in. And it’s almost enough to set the movie right.
  40. Our Brand Is Crisis
    The comedy here isn’t very funny and the drama isn’t very sharp.
  41. Jem and the Holograms
    As silly and sometimes nonsensical as it is, the movie is surprisingly sweet and well-intentioned.
  42. Rock the Kasbah
    Your enjoyment of all this will probably depend heavily on your willingness to let the words romp and Taliban coexist for approximately two hours. The movie itself is slight and sometimes outright offensive, though it’s also intermittently amusing and not entirely unself-aware.
  43. I Smile Back
    It’s 85 minutes of grim abyss-gazing with no hope of salvation. If Silverman’s going to bare her soul this nakedly, she deserves a better film to do it in.
  44. Suffragette
    It’s a shame that, despite some excellent performances, this urgent, well-intentioned film feels so conventional and stolid.
  45. Bone Tomahawk
    I doubt there’s a huge audience for a movie like Bone Tomahawk, but those who find it may turn it into a new cult classic.
  46. The Last Witch Hunter
    Seemingly every time there was an opportunity to do something fun, The Last Witch Hunter runs in the other direction, creating an unfortunately heavy-handed, humorless, self-serious tone for a story that should be allowed to be a little goofy.
  47. This Changes Everything
    Yet as Everything moves from nation to nation, the cohesion and potency of its message dissipates.
  48. Knock Knock
    Knock Knock is a pretty flimsy erotic thriller, but thanks to Reeves’ oaken obliviousness it’s also got a few moments of deliciously trashy fun.
  49. Crimson Peak
    Crimson Peak is a cobwebs-and-candelabras chamber piece that’s so preoccupied with being visually stunning it forgets to be scary.
    • 50 Metascore
    • 75 Critic Score
    Trash
    The child actors are all charming and refreshingly un-child-actory, and Martin Sheen is good as gruff, hard-drinking priest.
  51. Goosebumps
    It’s a never-boring trip to a world, where stories and imagination are powerful tools, that just might inspire kids to do the scariest thing of all: pick up a book
  52. The Final Girls
    As horror comedies go, this one sadly winds up somewhere between Scary Movie 4 and 5.
  53. Truth
    For a movie about the importance of objectivity, Truth feels like a biased and sanctimonious op-ed column.
  54. Pan
    Hugh Jackman gives the movie a bit of twinkle as a pirate who breathes pixie dust to stay fresh and relevant. Maybe the people behind Pan should have snorted some.
  55. Beasts of No Nation
    Cary Fukunaga’s stark, beautifully shot drama was likely never meant to be a blockbuster; its brutal account of a child soldier in an unnamed African country is far too discomfiting for wider audiences. It absolutely does belong on a big screen, though, and more important, it just deserves to be seen.
  56. Room
    Room is more than the title of one of the year’s most powerful movies — it’s a state of mind that’s unbearably tense and as claustrophobic as a straitjacket
  57. Steve Jobs
    As sharp and slick as Steve Jobs is, it ends up feeling more interested in entertainment than enlightenment.
  58. Bridge of Spies
    Bridge of Spies is like Capra with a dash of le Carré.
  59. Freeheld
    For all its clumsiness, the story resonates—and the photos that run over the final credits are a poignant reminder of the real life, not just the political legacy, that Laurel left behind.
  60. He Named Me Malala
    Davis Guggenheim’s latest documentary is a forceful and exquisitely made piece of advocacy journalism.
  61. The Keeping Room
    A pretty average siege thriller. I’m positive there’s an audience for an Old West tale about fierce, independent women. I’m equally positive it can be done better.
  62. The Green Inferno
    The Green Inferno is less a riff on spaghetti splatter flicks like Cannibal Holocaust than a desperate-to-shock pastiche of guts and gore served with a wink to audiences with strong stomachs. You know who you are.
  63. Drunk Stoned Brilliant Dead: The Story of the National Lampoon
    Douglas Tirola’s doc about the satirical bible’s rise and fall is fascinating, funny, smart, juvenile, tragic, and likely to offend just about everyone. It’s a must-see for anyone who cares about comedy.
  64. Ashby
    Rourke, whose face has become an inexpressive waxwork in recent years, doesn’t do much with what’s already a pretty undercooked role.
    • 30 Metascore
    • 25 Critic Score
    Stonewall
    There’s bad, and then there’s offensively bad.
  66. The Martian
    Scott’s sci-fi adventure is the kind of film you leave the theater itching to tell your friends to see. Like Apollo 13 and Gravity, it turns science and problem solving into an edge-of-your-seat experience.
  67. The Walk
    The 17-minute wire-walking sequence is the most majestic simulation of a real event since the ship sinking in Titanic—a dazzling triumph of photorealistic digital effects, which exhibits Zemeckis’ mastery of both CGI and pace.
  68. Labyrinth of Lies
    Fehling gives a commanding physical performance as he transitions from ambition to despair to, finally, resolve.
  69. Hotel Transylvania 2
    Genndy Tartakovsky returns as director, and the creator of "Samurai Jack and Dexter’s Laboratory" has somehow managed to kick up the energy even more for the sequel.
  70. Cooties
    Neither scary enough to be a horror film nor funny enough to be a comedy.
  71. Captive
    The thin story has been stretched like Silly Putty to feature-film length and the result is utterly see-through in its sledgehammer moralizing.
  72. The Intern
    Hathaway’s take on the underwritten Jules is refreshingly unshowy, but De Niro seems a little lost.
  73. Pawn Sacrifice
    The achievement of Edward Zwick’s new Fischer biopic, Pawn Sacrifice, is that it does just that. It manages to turn thinking into action.
  74. Sicario
    With a taut and timely screenplay by Taylor Sheridan, Sicario is a brilliant action thriller with the smarts of a message movie.
  75. Maze Runner: The Scorch Trials
    Left without a gimmick, The Scorch Trials wanders between YA cliches — there’s a Resistance, but it’s unclear what they’re resisting — and zombie movie tropes, with the obligatory a zombie bit our friend scene.
  76. Time Out of Mind
    The film’s not entirely effective as drama. The pacing and sparse plot keep it from being truly immersive, and it’s not exactly a film designed to spur social change, either. Instead, it’s worth watching for Gere alone.
  77. Black Mass
    Cooper, the director of Crazy Heart and the underrated Out of the Furnace, has made a tight and tense gangster film with Black Mass. But it’s a pretty straight-ahead entry in the genre, albeit one peppered with spicy performances.
  78. The Perfect Guy
    For all its third act nuttiness, The Perfect Guy really should have gone way crazier.
  79. War Room
    War Room is a gold-plated piece of Bible thumping that’s resonating with the same audience that watches Jimmy Stewart get touched by an angel every December in "It’s a Wonderful Life" — and cry next to Christmas trees, despite that film’s many hackneyed religious devices.
  80. Meet the Patels
    In its current form as a documentary, Meet the Patels is a charming and moderately enlightening examination of what happens when an American-raised man recovering from a bad breakup attempts to find a wife through the kind of arranged marriage that has kept his parents blissful for decades.
  81. The Visit
    This is the first Shyamalan movie in a long time that viewers may be tempted to re-visit just to see how he pulls off his magic trick.
  82. Sleeping with Other People
    It’s a smart, flawed movie about smart, flawed people.
  83. Goodnight Mommy
    Goodnight Mommy, a brilliantly sinister horror film in the recent art-house mold of "The Babadook" and "It Follows," has a premise that cracks like the whip of a devil’s tail.
  84. Steve Jobs: Man in the Machine
    What the movie actually could’ve used less of is Gibney, whose faux-pensive voice-overs are meant to push the story forward, but more often make your eyeballs roll backward.
  85. The Transporter Refueled
    It’s hard to deny the hedonistic joy in the way Delamarre plays with his various toys, and the goofball stunts—including the yacht-based finale, with a special appearance by a jet ski—are generally worth wandering through the dialogue desert.
  86. Everest
    When the lights come up, you don’t want to feel like you’ve watched a ­better Cliffhanger. You want to understand the tragedy you’ve just watched. Yes, you want to be entertained, but you also want the icy, whipping wind of reality to sting.
  87. Coming Home
    Yimou’s lovely import is the kind of lump-in-your-throat drama they don’t make much anymore, at least in Hollywood. Watching Coming Home you’ll wonder why that is — and who we can write a letter to to fix it.
    • 56 Metascore
    • 50 Critic Score
    7 Chinese Brothers
    The movie’s soundtrack is excellent. Too bad that it’s one of the only things this cinematic portrait of a serial screw-up has going for it.
  89. The Second Mother
    This Brazilian drama offers a nuanced, often funny look at family and social status, and Casé’s performance is both heartbreaking and hilarious.
  90. A Walk in the Woods
    Their odd couple interplay propels a series of shambling, expletive-laden mishaps that aim more for easy laughs than Wild epiphanies.
  91. Z for Zachariah
    The lack of drama and heat keeps Z for Zachariah joyless without much despair. It’s the end of the world as we know it, and you’ll feel bored.
  92. Queen of Earth
    The result is chilling and beautifully composed, a stylish study of disintegration that is easier to admire than enjoy.
  93. We Are Your Friends
    The film fakes emotion with flashing lights and a pulsing soundtrack, and before Cole realizes the music was in him this entire time (ugh), the story falls flat
  94. No Escape
    Even ignoring the racism — which is pretty much impossible — No Escape is a cliché-ridden, artless relic.
  95. Hitman: Agent 47
    In this post-"Mad Max: Fury Road" action movie age, “occasionally bonkers” just doesn’t cut it anymore.
  96. Sinister 2
    Sinister 2 doesn’t know what it wants to be, and doesn’t add up to much.
  97. People Places Things
    Even though there’s not a lot to Jim Strouse’s new relationship comedy, it has a real warmth and charm thanks to the undeniable appeal of comedian Jemaine Clement.
  98. Grandma
    Sam Elliott, Marcia Gay Harden, and Judy Greer supply sharp cameos, but this is Tomlin’s movie, and she obliges with a spiky, refreshingly unvarnished performance.
  99. She's Funny That Way
    She’s Funny That Way is posted as a love letter to the classic screwball comedies of Hollywood’s golden age, but delivers ersatz Woody Allen instead; it’s like "Bullets Over Broadway" minus the mob plot and 90 percent of the charm.
  100. The Boy
    The film’s biggest flaw is that there’s never any doubt about where Ted is going to end up.
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