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. Meru
    Meru the film, then, might be the anti-Everest. There are no expensive special effects, but there is a lot of authentic climbing footage.
  2. Mistress America
    Noah Baumbach’s latest wisp of privileged New York whimsy vaporizes on arrival.
  3. Digging for Fire
    What starts off as a promising indie about a couple (Jake Johnson and Rosemarie DeWitt) trying to balance their own needs versus their partner’s quickly goes south in director Joe Swanberg’s latest meditation on aging-hipster malaise.
  4. American Ultra
    Check your brain at the popcorn-butter pump in the lobby and enjoy it.
  5. The Man from U.N.C.L.E.
    The early-’60s styles are chic, the Euro locales are swank, and the music cues (including a nod to Ennio Morricone’s Once Upon a Time in the West score) are fantastic. Too bad the plot and the lead performances are so lifeless.
  6. Fantastic Four
    In short, this Josh Trank-directed reboot had a very low hurdle to overcome to become the best FF movie so far. The most fantastical aspect of the movie is that it may not achieve that goal.
  7. The Diary of a Teenage Girl
    As unsettling as Marielle Heller’s feature-film debut can be — there are moments you’ll ache for Minnie and other ones where you’ll want to lock her away — it rings much truer than most coming-of-age stories.
  8. Kahlil Gibran's The Prophet
    Gibran’s little life lessons have been turned into three-minute haiku by different animators and spread across the film. Each one soars (especially clay painter Joan Gratz’s color-bursting snippet, “On Work”), even if the plot holding them together is frustratingly Disneyish.
  9. Cop Car
    Cop Car feels like a great short stretched into a mediocre feature.
  10. The Runner
    The Runner is a well-meaning character study with an admirably cynical ending, but it’s too cold to ever fully draw you in.
  11. Straight Outta Compton
    Straight Outta Compton is a hugely entertaining film that works best if you don’t look at it too closely and just listen.
  12. The Gift
    The real joy of The Gift is getting to that twisted goodness, because more than anything, Edgerton’s script and direction demonstrate a keen understanding of tension and what puts an audience on edge.
  13. Dark Places
    It’s never pushed far enough. Instead, Dark Places just becomes an overstuffed, low-simmer potboiler with too many improbable detours and overly convenient twists.
  14. Ricki and the Flash
    Director Jonathan Demme and screenwriter Diablo Cody, both Oscar winners, have made far better films. Still, Ricki raises smart questions about why a mother’s musical ambitions are so much more selfish than, say, seven-time dad Mick Jagger’s.
  15. Listen to Me Marlon
    A wondrously sly, moving, odd portrait—perfectly befitting its subject.
  16. Two Step
    Writer-director Alex R. Johnson’s feature debut uses Southern Gothic simmer to heat up what is otherwise a typical gun-and-bag-of-money crime tale, though Hébert’s terrifyingly electric performance keeps the heat turned up enough to make the bloody climax feel like relief.
  17. Extinction
    Director Miguel Ángel Vivas tries to add a family-drama twist to an otherwise standard survival story, but the characters aren’t complex enough (and the secrets aren’t explosive enough) to elevate this beyond a basic zombie flick.
  18. I Am Chris Farley
    The film—skillfully helmed by Brent Hodge and Derik Murray and featuring talking-head testimonials from family members, friends, and costars such as Mike Myers and Bob Odenkirk—heralds "Tommy Boy" as definitive and notes how winning a romantic lead Farley is in "Coneheads".
  19. The End of the Tour
    Like "Almost Famous," Ponsoldt’s film gets at something deep and true about the journalist/subject dynamic and the phony intimacy and tiny betrayals implicit in it. It’s a profoundly moving story about a towering talent who seemed to feel too much and judge himself too harshly to stick around for long. What a shame.
  20. Shaun the Sheep Movie
    In a bold move that pays off, the movie jettisons dialogue altogether and tells its whole story through barn-animal noises, goofy sound effects, and sight gags so silly they’d make Benny Hill spin in sped-up ecstasy. The effect is contagiously cute.
  21. Best of Enemies
    This deliciously feisty doc contextualizes their verbal brawls and the odd love-hate (mostly hate) rivalry between two men who seemed able to regard their own sense of heroism only through the other’s villainy.
  22. Vacation
    What’s missing is the pent-up anger that simmered behind Chevy Chase’s doofus grin. His Clark was always on the verge of a nuclear-family meltdown. Helms lacks Chase’s passive-aggressive edginess.
  23. Samba
    Samba finds a much stronger rhythm when it stops contriving and simply shines a light on the joy and pain (and musical interludes) of lives lived in the margins.
  24. Unexpected
    Unexpected isn’t particularly interested in driving the plot forward or holding its leads up as avatars for a cinematic lecture on poverty and white privilege. Instead, it just lets them live and breathe and make mistakes — not for the aim of any greater message or grand epiphanies, but because that’s what people do.
  25. The Vatican Tapes
    The Vatican Tapes is basically “Exorcism’s Greatest Hits” played by a schlocky cover band.
  26. Paper Towns
    The real joy of Paper Towns is the interplay among Wolff, Abrams, Smith, and eventually Halston Sage and Jaz Sinclair as Margo’s best friend and Radar’s girlfriend.
  27. Irrational Man
    Allen isn’t completely on autopilot here. There are a couple of sharp, sting-in-the-tail twists near the end, and Phoenix is at least interesting. But Irrational Man would be lesser Woody even if we hadn’t seen most of it before.
  28. Mission: Impossible - Rogue Nation
    Rogue Nation may not be the best, the tightest, or even the most logically coherent M:I flick, but there should be more movies like it: relentlessly thrilling, smart entertainments for folks who can’t tell the difference between Quicksilver and The Flash—and aren’t particularly interested in trying to learn the difference either.
  29. Phoenix
    The plot is just implausible enough to keep the film from greatness, but director Christian Petzold (Barbara) stirs up a powder-keg metaphor about rebuilding after war.
  30. Pixels
    Neither Sandler nor his listless writers (too many punchlines just sit there and collect flies) seem invested. Whether he’s saving the planet or putting the moves on Michelle Monaghan, Sandler can’t be bothered to raise his pulse above comatose. If he doesn’t care, why should anyone else?
  31. Southpaw
    Gyllenhaal’s Southpaw performance is great, but for reasons unrelated to his physique. He’s thrilling to watch and the only unpredictable thing in a two-hours-plus movie where you can count on one hand the number of moments that aren’t hand-me-downs from better boxing films like "Rocky," "Raging Bull," and "Fat City."
  32. Trainwreck
    Beneath all of his bad-boy shtick, Apatow’s always been a pretty conventional moralist. But Schumer gives their raunchy rom-com enough of her signature spikiness to prevent it from ever feeling predictable.
  33. Hippocrates: Diary of a French Doctor
    A sobering look at the bureaucratic trials and life-and-death decisions rookie doctors face on their daily rounds.
  34. The Gallows
    This is another found-footage movie that, with a little art direction and some actual cinematography, could easily have been a decent little terrorizer. Instead, it comes mostly unglued thanks to its hacky gimmick.
  35. Ant-Man
    Reed and Rudd's film is proof that no matter how silly some ideas sound at first, good things often do come in small packages.
  36. Tangerine
    Tangerine is touching for its non-condescending stance toward working girls and the spirit of the sidewalk.
  37. 10,000 km
    It’s a decent critique of romance in the digital age—until you realize how boring it is to watch people break up on Facebook.
  38. Self/less
    Self/less’ greatest crime is that it’s not enough of anything: Not brainy enough to party with the theories about consciousness that Ex-Machina delivered earlier this year, nor is it over-the-top enough to compete with the campy goofballery of something like Limitless.
  39. Magic Mike XXL
    Director Gregory Jacobs worked under original Magic Mike helmer Steven Soderberg for years, but sadly he has almost none of his former boss’s ability to elevate material that is essentially one lamé thong away from a TLC reality series.
  40. Terminator Genisys
    The story isn’t just confusing, it’s a betrayal to anyone who’s invested brain cells in the Terminatorverse over the past 31 years.
  41. Fresh Dressed
    Midway through, the narrative gets a little bogged down in the details of retail; still, Fresh is a colorful, comprehensive trip.
  42. Minions
    If Minions were a toy, you’d hide its batteries.
  43. Ted 2
    The sequel still manages to walk the tightrope between clever and crass. For a while, at least.
  44. What Happened, Miss Simone?
    An excellently clear-eyed primer on the woman whose talent carried her from an impoverished childhood in Tryon, N.C., to the world’s most rarefied stages—and whose political defiance nearly ended her career.
  45. Balls Out
    There’s some chuckleworthy meta-commentary about the absurdity of sports movies, but Balls Out feels more like a long sketch than a feature.
  46. Inside Out
    There’s enough slapstick and silliness to keep kids entertained.... But the film also has a bittersweet streak about the loss of innocence and the fleetingness of childhood.
  47. The Wolfpack
    As the film goes on, their rebellious thirst for freedom and independence slowly builds to a physical and psychological emancipation that Moselle never quite follows through on. Still, she’s discovered a stunning, stranger-than-fiction story and tells it with sensitivity, intimacy, and compassion.
  48. Me and Earl and the Dying Girl
    Somewhere along the way Earl eases up on the suburban–Wes Anderson whimsy and starts to find its heart, infusing the story’s self-conscious cleverness and trick-shot set pieces with something sweeter, sadder, and even a little bit profound. In other words, it grows up.
  49. Jurassic World
    Jurassic World is a blockbuster of its moment. It’s not deep. There aren’t new lessons to be learned. And the film’s flesh-and-blood actors are basically glamorized extras. But when it comes to serving up a smorgasbord of bloody dino mayhem, it accomplishes exactly what it sets out to do beautifully.
  50. Insidious: Chapter 3
    Insidious Chapter 3 is the worst kind of sequel: Not terrible, but also cartoonishly unnecessary.
  51. Spy
    McCarthy’s mind just seems to race in a faster gear than her costars, allowing her to blast off arias of profane put-downs with such speed and demented originality that her mouth practically shoots sparks. As a physical comedian, she possesses the greatest gift of all: She’s totally unafraid of looking stupid.
  52. Entourage
    Entourage, the show and the movie, is about five insanely lucky knuckleheads who have each other’s backs in a town that’s more likely to stab you there.
  53. San Andreas
    San Andreas shows that sometimes the fake stuff can get the job done beautifully. I don’t want to make any claims that San Andreas is a great film. It’s not. But as mindless sensory barrages go, its fakery taps into something real: It shows us just how impotent we all are to control our planet. Unless, of course, you happen to be The Rock.
  54. Aloha
    It happens. Really talented directors sometimes step into the batter’s box, take a gigantic swing, and whiff.
  55. Poltergeist
    The only really frightening thing about the 2015 version of Poltergeist is how haunted it is by the original.
  56. The Human Centipede III (Final Sequence)
    Even by the series’ already low standards, The Human Centipede Part 3 is crap.
  57. Results
    Even by Bujalski’s shaggy standards, Results never adds up to much. Instead it just sort of sputters out and settles for a predictable rom-com ending. Conventional doesn’t suit him.
  58. When Marnie Was There
    The animation is dazzling.
  59. Sunshine Superman
    Interviews with Boenish’s wife, Jean, give his life story perspective and heart.
  60. Slow West
    Imagine Terrence Malick directing the climax of "The Wild Bunch," and you’re on the right track.
  61. Pitch Perfect 2
    PP2 sometimes feels less like a movie than a two-hour episode of Glee ghostwritten by Amy Schumer; jokes fly like they’re being shot from T-shirt guns at a gonzo pep rally, and not all of them stick the landing.
  62. Mad Max: Fury Road
    When you get past Miller’s orgy of loco action sequences—and they’re so good, you may not need to—the story is pretty thin.
  63. Maggie
    The sight of Schwarzenegger in this small, subdued role makes us root for his survival. That’s the power of star wattage at work. Not even the undead can kill it.
    • 55 Metascore
    • 67 Critic Score
    5 Flights Up
    Freeman is funny as a lovable crank, but Keaton’s neurotic performance wears thin.
  65. Saint Laurent
    Actor Ulliel, who’s been the face of both Chanel and Hannibal Lecter (in 2007’s Hannibal Rising), knows how to slither. His version of Yves is spoiled, insecure, cruel—and, in the movie’s ironic final shot, tickled to death that we still seem to care about him.
  66. Hot Pursuit
    What’s spanglish for déjà vu? There’s hardly a single moment in Hot Pursuit that won’t remind you of scenes you’ve seen at the multiplex a thousand times before. (The movie’s original title was Don’t Mess With Texas, probably because Thelma & Louise Ride the Pineapple Express All the Way to Jump Street — and They’ve Got Lethal Weapons, Y’all! was just too long.)
    • 48 Metascore
    • 50 Critic Score
    Ride
    Hunt seems to confuse fast-talking with crackling banter, and the mother-son bond is way ickier than it is cute.
  68. I Am Big Bird: The Caroll Spinney Story
    Out of costume, Spinney is as impossibly sunny as his alter ego (with none of the crankiness of his other incarnation, Oscar the Grouch). At 80, he has no plans to hang up his feathers—welcome news for kids and parents everywhere.
  69. Far from the Madding Crowd
    With a steely resilience burning beneath her delicate, creamy complexion, Carey Mulligan brings remarkable nuance and a rich inner life to the role of Bathsheba Everdene.
  70. Gerontophilia
    There are the makings of a poignant Harold and Maude-style drama here, but the movie is so amateurish and eager to be shocking, it just winds up feeling creepy.
  71. Iris
    Although the film does hint at Apfel’s creeping sense of mortality as she donates her clothes for posterity, it never gets deep enough under her skin.
  72. Félix And Meira
    Quebecois director Maxime Giroux mistakes long, wordless scenes of characters gazing at each other for tenderness, but he imaginatively uses gospel music as the forbidden food of love.
  73. The Forger
    The art-heist plot is pretty by-the-numbers, but Travolta nearly saves it with his doomed air of paternal helplessness. He makes you feel the weight of being at the mercy of forces bigger than oneself. At 61, he still possesses something rare, even in rote material like this.
  74. Avengers: Age of Ultron
    Still, my real beef with these movies — and this one in particular — is how same-y they’ve started to feel. Each time out, everything is at stake and nothing is at stake.
  75. Adult Beginners
    There aren’t enough laughs here to goose it past formulaic. It’s harmless and mild and likable, but it’s also a toothless comedy that should have had some bite.
  76. Kurt Cobain: Montage of Heck
    It proves that Morgen isn’t interested in hagiography. He wants to show us the real Kurt Cobain, warts and all.
  77. The Age of Adaline
    Lively looks fantastic in every era’s fashion as it passes, and she does a nice job of conveying Adaline’s old-world diction and reserve; there’s no Gossip in this girl.
  78. Paul Blart: Mall Cop 2
    Paul Blart: Mall Cop 2 does all it was created to do: exist.
  79. Welcome to New York
    The film, which sparked enough controversy that French theaters refused to pick it up, spends too much time bogged down in its more decadent scenes to spark any new insights.
  80. Child 44
    It happens more often than it should: A cast of sterling actors is assembled for a movie that doesn’t come close to equaling the sum of its parts.
  81. Unfriended
    Though not particularly ground-breaking — last year’s Elijah Wood-starring Open Windows pulled the same trick, and much more ambitiously — we’re still going to “like” the result.
  82. Clouds of Sils Maria
    If Ingmar Bergman had directed a remake of "All About Eve," it might have looked something like Clouds of Sils Maria. Mysterious and narratively playful, Olivier Assayas’ film features a trio of finely calibrated female performances that examine the psychological toll of being an actress — or working for one.
  83. Ex Machina
    Ex Machina is beautiful and ominous and features another delicately nuanced performance from Isaac, who’s quickly making a habit of them. But in the end, for all of Garland’s ambition, his reach winds up exceeding his grasp. The film is as synthetic as Ava.
  84. 5 to 7
    While the film has an undeniably sexy glow, it’s too earnest and sappy by half. Fortunately, Frank Langella and Glenn Close drop by as Brian’s disapproving parents.
  85. Woman in Gold
    Even Helen Mirren, the Queen Midas of class acting, can’t fix this well-intentioned miss.
  86. Furious 7
    No one forks over 10 bucks to see one of these flicks for its logic. We go for the bananas demolition-derby mayhem. Furious 7 delivers that with the direct visceral rush of an EpiPen.
    • 55 Metascore
    • 91 Critic Score
    Home
    The combination of Home’s layered message, fun score, and clever comedy make it a colorful choice for moviegoers of any age.
  88. The Salt of the Earth
    With this heartbreaking yet hopeful new documentary about his life’s work, Salgado shares the stories behind these split-second black-and-white moments, giving them even more dimension.
  89. While We're Young
    After a while, the director of the more perceptive "Frances Ha" and "The Squid and the Whale" tips his hand, painting the aging Xers as guardians of integrity and the millennials as opportunists. It’s a cheap shot, and it feels like he’s telling the kids to get off his lawn. It’s not Stiller’s character who’s the curmudgeon, it’s Baumbach.
  90. A Girl Like Her
    While mean girl Avery Keller (Hunter King) gets a nuanced and surprisingly redemptive arc, the target of her bullying, Jessica (Lexi Ainsworth), mostly goes ignored.
  91. Man from Reno
    None of it would work without the two leads: As the author on the run, Ayako Fujitani conjures a rare mix of demureness and daring. And as the sleuthing lawman, Pepe Serna uses his cement-mixer voice and boxer’s mug to convey a real bloodhound determination.
  92. Get Hard
    Get Hard is not only a bad movie but a profoundly wasted opportunity.
  93. The Divergent Series: Insurgent
    Taken for what it is, Insurgent is a vast improvement over the franchise’s first installment, mostly thanks to expansion in two arenas: budget and scope.
  94. Going Clear: Scientology and the Prison of Belief
    If Going Clear were a Hollywood thriller, I’d complain that it’s too over-the-top. But this is real life, which is hard to believe. And it’s disturbingly good.
  95. Run All Night
    Unfortunately, Run All Night gets a little slack with its third act and runs out of steam by the time the final showdown arrives.
  96. Kumiko, The Treasure Hunter
    Is Kumiko simply naive, or is she mentally ill? The film’s perfect ending doesn’t try to solve that riddle, but it will make you feel as if you’ve just seen something hypnotically original.
    • 23 Metascore
    • 50 Critic Score
    The Cobbler
    What starts off as a potentially charming fantasy never finds its footing.
  98. The Gunman
    Sean Penn doesn’t make movies very often these days. So when he does, you go in with certain expectations. Sadly, it’s best to leave them at the concession stand if you’re planning on enjoying The Gunman.
  99. It Follows
    A dizzyingly tense and creepy workout.
  100. Cinderella
    The fizzy cocktail combination of Blanchett’s cartoonish hauteur and Branagh’s visual razzle-dazzle and confectionary sets (courtesy of the legendary Dante Ferretti) manages to take a tale as wheezy as Cinderella and make it feel almost magical again.
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