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. '71
    It’s only March, but this could be 2015’s most invigorating directorial debut.
    • 32 Metascore
    • 50 Critic Score
    Unfinished Business
    The movie struggles to find its comedic footing by trying to bring out the family man in Dan Trunkman and underutilizing Franco, whose character clearly has much more to his disadvantage than a lack of prior business experience. Bottom line: Unfinished Business doesn’t deserve that handshake after all.
  3. The Second Best Exotic Marigold Hotel
    Predictable, corny, and mild.
  4. Chappie
    When we’re first introduced, he’s an overwhelmed infant, and by the time the credits roll, he’s John McClane. Is that an accurate representation of how artificial intelligence can evolve? Absolutely. Does it make for compelling drama? Not particularly.
  5. The Lazarus Effect
    I would have loved to see more from the filmmakers, daring to fail while staking out some new terror incognita instead of just going through the motions of an experiment for which we already have the results.
  6. The Hunting Ground
    Heartbreaking, infuriating, and unmissable.
  7. Focus
    What keeps the film humming along as smoothly as it does is the chemistry and charisma of its leads.
  8. The Salvation
    Green is officially the world’s best actress in bad movies.
  9. Queen and Country
    Tonally, the movie can’t decide whether it’s a comedy, a romance, or a wistful wartime madeleine. What it’s missing is the sense of joy and wonder of its predecessor.
  10. Everly
    With so little backstory and character depth, it’s nothing more than a pointless exercise in brutal, nasty style.
    • 68 Metascore
    • 25 Critic Score
    Maps to the Stars
    The goal here is cynical satire. The result, sadly, is just a yawn.
  12. All the Wilderness
    Yes, writer-director Michael Johnson cranks the Malick meter up to 11 in this sensitive coming-of-age drama.
  13. Wild Tales
    Damián Szifron’s Wild Tales almost feels too audacious, too crazy, and, in some ways, too slight for the Oscars.
  14. Accidental Love
    The race for the worst film of 2015 is officially on.
  15. Hot Tub Time Machine 2
    It’s a comedy that’s so witless and unfunny and shoddily made it makes "The Hangover 2" look like "The Godfather 2."
  16. The DUFF
    As misspent of an opportunity as The DUFF may be, it’s hard to completely dismiss a film that gives someone as talented as Whitman her long-overdue spotlight.
  17. What We Do in the Shadows
    What ends up carrying the movie is the sweetness of the characters, especially the lovelorn Viago and Stu (Stu Rutherford), the one human the group won’t eat because he’s genuinely just a good dude.
  18. Kingsman: The Secret Service
    Speaking of young men, newcomer Taron Egerton, playing Harry’s protégé, delivers a star-making performance flush with the kind of charm and unexpected gravitas that no amount of flashy filmmaking can fake.
  19. Fifty Shades of Grey
    I spoil nothing by reporting what readers already know, that when Fifty Shades is not a dirty story, it is, as the trilogy unfolds, a study in cartoonishly weird family dynamics.
  20. Jupiter Ascending
    Jupiter Ascending’s early cleverness dries up quickly, especially when Kunis is offscreen, leaving us with just another incoherent sci-fi spectacle.
  21. 1971
    Now, in Johanna Hamilton’s fiery truth-to-power documentary, those gray-haired agitators finally step out of the shadows to explain what they did and why they did it (with the help of some slightly hokey dramatic reenactments). Their message—namely, Who will watch the watchmen? — remains as important today as it was 44 years ago.
  22. Seventh Son
    (Bridges) has a tendency to make mistakes, especially when it comes to science fiction and fantasy titles. He has followed up the minor disasters that were "R.I.P.D." and "The Giver" with Seventh Son.
  23. Wild Card
    Stanley Tucci, Hope Davis, Anne Heche, and Sofia Vergara all pop up in glorified cameos and give the movie more fizz than their roles require. Which begs the question: Why would they sign on for such thankless, bite-size roles?
  24. Mortdecai
    The movie is too odd and randy to play for kids on an Austin Powers level, and too broad to really work as farce. But Depp, god bless him, fully commits, and finds a few genuinely funny moments amidst all the outsize mugging and mild sociopathy.
  25. Mommy
    It taps into every parent's worst nightmare — the horror of being unable to protect an out-of-control child.
  26. Red Army
    Thanks to Gabe Polsky's enthralling new documentary, we finally get to see these athletes for who they really were—it humanizes a group of men who were cast by history in the role of villains.
  27. The Boy Next Door
    Boy's premise reeks of stalker-movie mothballs, and it's too timid to fully dive into the high camp it hints at. Instead, this cookie just crumbles.
  28. Cake
    Aniston works so hard to avoid sentimentality that it's disappointing when it creeps into the film. Director Daniel Barnz casts everything in a blue-yellow light that oversells the melancholy mood.
  29. The Wedding Ringer
    The Wedding Ringer is such a crudely edited, slapdash affair it often forgets about the characters it has introduced — especially the women.
  30. Vice
    Everything about Vice feels like recycled goods. It's basically "Westworld" meets "Blade Runner" programmed by glitchy filmmaking replicators.
  31. Still Life
    The plot begs for a jolt of the Charlie Kaufmanesque — it's so pillow-smothered by tedium that even the uplift of magic realism in the film's final shot seems cold and stiff.
  32. Son of a Gun
    Son of a Gun becomes a somewhat predictable but excitingly twisty heist film involving a double-dealing Russian heavy, a desperate femme fatale, and a fortune in gold bars. It has just enough muscle and style to make the familiar feel fresh.
  33. Loitering with Intent
    A snappy start gives way to an unfocused second half, which devolves into a walking tour of indie-film clichés that make the 80-minute run time feel overlong.
  34. Paddington
    Paddington is fast-paced yet unhurried, serving up surprisingly subtle ideas on melting-pot urban diversity—Paddington is a stranger in a strange land, after all—and rich visual tableaux, including a gorgeous recurring shot of the Brown home as a living dollhouse.
  35. Still Alice
    Going on 20 years now, Moore is someone who's been so reliably good for so long that we've probably taken her for granted. But her subtle, heartbreaking decline as Alice—from her initial diagnosis to her daily struggle to hold on to her identity and dignity to her eventual disappearance in plain sight—is among her most devastating performances.
  36. Blackhat
    Occasionally, Mann shows flashes of the sort of springloaded action set pieces he was once hailed for, like a shoot-out during a religious parade. But mostly they just come off as warmed-over parodies from a onetime master aping his own style.
  37. Beloved Sisters
    It only makes you wish for the unintellectual bodice ripper that the movie should have been.
  38. Free the Nipple
    Sound titillating? It's not.
  39. If You Don't, I Will
    A quiet, intermittently poignant portrait of two people who've lost each other and aren't sure they want to find their way back.
  40. Predestination
    Predestination's pace is too slack, and the brothers are so painfully tentative as storytellers that the easily guessed big twist gets three separate reveals.
  41. Taken 3
    It's a testament to Neeson's startling charisma as an action star that for all its storytelling flaws, large swaths of Taken 3 remain wildly entertaining.
  42. Miss Julie
    Director Liv Ullmann's PBS-pretty adaptation of the 1888 August Strindberg play lacks brio but is compelling thanks to its three tough performers.
  43. Magician: The Astonishing Life and Work of Orson Welles
    Like Welles' butchered cut of "The Magnificent Ambersons," it's fascinating but leaves you hungry for more.
  44. Leviathan
    As in the Coen brothers' great "A Serious Man," the Book of Job looms large here — which is likely how director Andrey Zvyagintsev secured support from his country's censorship-happy Ministry of Culture.
  45. Goodbye to All That
    Writer-director Angus MacLachlan also penned the acclaimed 2005 indie "Junebug," and he aims for the same kind of gentle absurdity here.
  46. Two Days, One Night
    With her wide, sad eyes and quiet air of embarrassment tinged with pride, Cotillard's Sandra is asking a question not only of her colleagues but of the audience, too: Are we willing to put aside our own self-interest for the sake of empathy? Are we cowardly or brave? Cotillard's exquisite performance makes you feel every ounce of the weight of that dilemma.
  47. Mr. Turner
    J.M.W. Turner was a master of light and image, but what stands out most about him in Mike Leigh's captivating biographical film is a sound. Playing the renowned Victorian-era English painter, Timothy Spall grunts and expectorates his way through his scenes, chugging along with the phlegmy belch of an old jalopy or, as the film suggests more than once, a snuffling pig.
  48. A Most Violent Year
    A Most Violent Year isn't an explosive film. It builds slowly, simmering toward an inevitable day of reckoning. It's the kind of uncompromising movie we don't see much of anymore. And it makes you nostalgic for a time when the world was worse and the movies were better.
  49. The Woman in Black 2: Angel of Death
    Any tension created during its key moments completely evaporates once the lights come back on. The Woman may be back for another fright, but Angel of Death doesn't haunt like it should.
  50. Night at the Museum: Secret of the Tomb
    Night at the Museum: Secret of the Tomb has one thing going for it that even many of this season's prestige films don't: It's kind of fun, unembarrassingly, and not least of all because the people who made it look like they had a good time doing so.
  51. American Sniper
    Clint Eastwood's American Sniper is a film that evokes complicated emotions. A month after seeing it, you might still be wrestling with whether it's powerful, profound, or propaganda.
  52. The Gambler
    The one bit of good news is that the first Gambler is currently streaming on Netflix. Do yourself a favor and watch that one instead.
  53. Big Eyes
    Despite its sharp feminist sting, Big Eyes never loses its light touch. Maybe the lesson here is that Burton should venture out of his dark, creepy comfort zone more often.
  54. The Interview
    It's a pity that the film is bereft of satiric zing, bludgeoning the laughs with a nonstop sledgehammer of bro humor.
  55. Into the Woods
    The first two-thirds of the film, which are like the Brothers Grimm's Greatest Hits on laughing gas, have a fizzy, fairy-dust energy. But as soon as the baker couple's scavenger hunt is over and a rampaging giant appears, Woods loses its magic and momentum and sags like an airless balloon.
  56. Selma
    DuVernay has done a great service with Selma. Not only has she made one of the most powerful films of the year, she's given us a necessary reminder of what King did for this country...and how much is left to be done.
  57. Unbroken
    It's moving, admirable, and occasionally exhilarating. What it's missing is the one thing that could always be counted on with Jolie as a star: the spark of danger.
  58. The Hobbit: The Battle of the Five Armies
    Like everything else in Jackson's Tolkienland, the buildup to the climactic melee stretches on too long. But when it comes, it's a doozy.
  59. Annie
    Aside from an unintentional homage to "Zoolander" that is so tone-deaf it'll make you guffaw, Annie goes out of its way to make viewing it a hard-knock life...for us.
  60. Inherent Vice
    Anderson's film is something to be experienced, like a psychedelic drug trip where the journey trumps the destination. Unfortunately, his journey just didn't do it for me.
  61. Exodus: Gods and Kings
    Is it possible to sit through a movie, mentally cataloging its absurdities, and still walk out dazzled? Because that pretty much sums up my experience watching Ridley Scott's eye-candy spectacle Exodus: Gods and Kings, an over-the-top Old Testament epic that's essentially Gladiator with God.
  62. Top Five
    As brilliantly funny as Chris Rock is, he's never been able to replicate the high-voltage danger and electricity of his stand-up act on the big screen. But in his latest film, the sharply satirical Top Five, he not only makes a case for why he should be a bona fide movie star, he also proves he's a writer-director to be reckoned with.
    • 74 Metascore
    • 91 Critic Score
    Wild
    Vallée has taken a contemplative book where, frankly, very little happens and transformed it into a gut-punching drama.
  64. The Pyramid
    If you're looking for cheap scares and have 90 minutes to kill, you could do worse than The Pyramid. But not a lot worse.
  65. The King and the Mockingbird
    The fairy-tale tableau lifts from Hans Christian Andersen but is shot through with bits of burlesque sci-fi, including a giant robot with an orchestra in its chest.
  66. Bad Turn Worse
    Directors Zeke and Simon Hawkins add air-quote references to Jim Thompson, Steven Soderbergh, and the Coen brothers but are too proud of the movie's twists to make them truly snap. Call it "Blood Simple-ton."
  67. The Sleepwalker
    The setup has mysterious promise, but the film cheaps out on a satisfying payoff.
  68. The Babadook
    In an age when horror movies have mostly become lazy and toothless, here's one with ambition and bite.
  69. The Imitation Game
    The film is anchored by yet another hypnotically complex Cumberbatch performance. He's turning greatness into a habit.
    • 53 Metascore
    • 42 Critic Score
    Penguins of Madagascar
    Aims primarily for the kiddies, racing from one frenetic action sequence to another like some haywire Walter Lantz cartoon.
  71. Horrible Bosses 2
    It's the small, tossed-off moments — Bateman's deadpan mugging, Day's frenzied cluelessness, and Sudeikis' smarmy one-liners — that land the best.
  72. Starry Eyes
    Horror fans should keep their eyes on the filmmakers — and Essoe, who gives a star-making performance.
  73. National Gallery
    The knowledge that Rembrandt recycled his own paintings doesn't minimize the scene in Frederick Wiseman's documentary where we see an X-ray of one of the Dutch master's portraits — and go, ''Wow!''
    • 53 Metascore
    • 42 Critic Score
    The Better Angels
    It feels more like a poem. Or, at times, a symphony. But it's much less effective as an actual movie.
  75. A Girl Walks Home Alone at Night
    Shot in inky black and white, Ana Lily Amirpour's fractured Farsi fright flick has a spooky, otherworldly quality. It's like an early Jim Jarmusch indie set in Little Tehran at 4 a.m.
  76. Happy Valley
    The documentary offers a compelling overview of the case, but Bar-Lev spends too much time painting Paterno as a victim and scapegoat. That advocacy doesn't sit well.
  77. A Merry Friggin' Christmas
    Even if Robin Williams were still among us, the limp, drearily derivative A Merry Friggin' Christmas would feel like it had a pall cast over it.
  78. The Homesman
    With her sad, haunted eyes and ''plain as a tin pail'' looks, Swank is by far the best thing in the movie. More than most actresses, she seems unburdened by vanity.
  79. The Hunger Games: Mockingjay - Part 1
    The biggest problem with the new Hunger Games movie is right there in the title: Part 1. Mockingjay, the final installment in Suzanne Collins' best-selling YA trilogy, wasn't conceived in two parts.
  80. Dumb and Dumber To
    The ultimate sad realization is not that Dumb & Dumber To doesn't match the original's good-time quotient, but that it might not even be as good as—yikes — "Dumb and Dumberer: When Harry Met Lloyd."
  81. Rosewater
    Rosewater, starring the geeky-charismatic Gael García Bernal as Bahari, is a gripping drama, smartly calibrated for Western audiences who still need an education in the bright, progressive, fight-back impulses in Iranian culture.
  82. Big Hero 6
    At times, Big Hero 6 gets a little too noisy for its own good, but that never manages to drown out its many quieter charms.
  83. Beyond the Lights
    Both Mbatha-Raw and Parker are appealing, expressive actors, and writer-director Gina Prince-Bythewood (Love & Basketball) lets them breathe, filling in the boilerplate bones of the story with smartly nuanced commentary.
  84. The Theory of Everything
    I couldn't help wishing that The Theory of Everything had more theory. Hawking famously excels at explaining complicated thoughts with layman simplicity, but the film never translates the originality and depth of his ideas — or even what they are.
  85. Foxcatcher
    The most haunting thing in Bennett Miller's latest film, Foxcatcher, is Steve Carell. That's right, the same rubber-faced comedian who gave us the dim-witted meteorologist of "Anchorman" and the oblivious corner-office boob of "The Office."
  86. Horns
    It seems to have been made by people who couldn't decide if their film was a horror flick, a whodunit, or a "Hellboy" knockoff.
  87. Goodbye to Language 3D
    Packed with dazzling images, the film makes 3-D feel like something brand-new to the medium.
  88. The Great Invisible
    Most of all, it's a sobering look at a part of coastal America that will never be the same again.
  89. Jessabelle
    While this Blumhouse production may be a less ruthlessly efficient scream machine than, say, its corporate sibling "Ouija," it is much more atmospheric and benefits from a winning central performance from Snook.
  90. Revenge of the Mekons
    Director Joe Angio presents the group's music with the contagious enthusiasm of a diehard, but exuberance is no substitute for storytelling, and Revenge of the Mekons is in desperate need of a narrative path.
  91. Point and Shoot
    His film is an essential, fascinating critique—and product—of our ''look at me'' culture.
  92. Interstellar
    Interstellar, his (Nolan) sci-fi spectaculorama helixed around a father-daughter love story, is a gamble like no other in his career. It's his longest film, his headiest, his most personal. And, in its square-peg-in-a-round-wormhole stab at being the weepy motion-picture event of the year, it's also his sappiest.
  93. Before I Go to Sleep
    Sleep is 91 minutes of delightfully twisted tension and three minutes of eye-rolling treacle. Kidman and Firth are both excellent in their sadness and savagery, and Joffe builds tension far better than most of the horror movies available at your local Cineplex this Halloween weekend. If only he had quit while he was ahead.
  94. Nightcrawler
    In its wickedly twisted way, Nightcrawler keeps "Network's" battle cry alive. It's a 21st-century takedown of the media's pandering ''if it bleeds, it leads'' ethos and the ghoulish nightcrawlers who live by it.
  95. Ouija
    Within the pungent field of other wide-release scare jobs and films derived from cardboard-based time-killers for kids, Ouija stacks up relatively well, thanks to its look and a confident performance by Cooke.
  96. Citizenfour
    For all its brio, the film is overcautious about pointing fingers.
  97. Force Majeure
    It's the rare kind of moviegoing experience that will haunt you long after you leave the theater and lead to some very awkward conversations with your spouse.
  98. Laggies
    What saves Laggies is Knightley, who's all gangly limbs and pouty faces, schlepping around in pajamas, acting exactly like a teenager trapped in a grown-up world.
  99. John Wick
    John Wick, is not only a return to badass form for the actor, it's also one of the most excitingly visceral action flicks I've seen in ages.
  100. The Best of Me
    Even with lowered expectations toward escapist fare taken into account, the film is a long slog, with Marsden and Bracey conveying little but Crest smiles and smolder, while Liberato and Monaghan are stuck doing endless cry-face.
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