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. 22 Jump Street
    To cover up the script's lack of originality, screenwriters Michael Bacall, Oren Uziel, and Rodney Rothman pummel us with a string of self-aware meta-commentary jokes that poke fun at bloated sequels.
  2. How to Train Your Dragon 2
    While the original movie benefited from narrative simplicity and an admirable lack of villains, this one paints the screen with too many characters and frequent diversions from the main story, but nevertheless serves up a bountiful and sugary feast for the 3-D-bespectacled eyes.
  3. The Signal
    If all this sounds like a souped-up episode of "The Twilight Zone" or "The X-Files," then you're in the right ballpark — or underground bunker.
  4. Coherence
    The wordy end product may be short on demons and murderous droids, yet Coherence is a satisfying and chilling addition to the ever-growing pal-ocalypse subgenre.
  5. Trust Me
    Gregg doesn’t possess the moral rot needed to crawl into the Willy Loman muck, and the film’s dialogue is Glengarry lite, but Saxon Sharbino, as an enigmatic tween actor, is just as the movie claims: the real deal.
  6. Supermensch: The Legend of Shep Gordon
    The movie borders on hagiography, but Gordon is a charmingly voluble storyteller; he’s like Dos Equis’ Most Interesting Man in the World recast as a balding Jewish guy from Long Island.
  7. The Sacrament
    West is a talented director and knows how to build suspense. But here’s a case where the truth wasn’t only stranger than his fiction, it was scarier, too.
  8. Ping Pong Summer
    The film coasts on its time-capsule fetishism and affable supporting turns from Susan Sarandon and Lea Thompson, but it never achieves the emotional punch of like-minded comedies such as "Adventureland" and "The Way, Way Back."
  9. Obvious Child
    Despite a few too-cute moments (and many fantastically graphic vagina jokes), the movie is both smarter and more sympathetic than that glib shorthand.
  10. The Fault in Our Stars
    I couldn't help wondering what kind of spiky unpredictability a "Say Anything" - era John Cusack would have brought to the character — with or without the requisite Peter Gabriel song.
  11. Edge of Tomorrow
    Despite its terribly unimaginative title, Edge of Tomorrow is a surprisingly imaginative summer action movie.
  12. A Million Ways to Die in the West
    I don't know if A Million Ways to Die in the West will turn any of the MacFarlane haters into fans. But for those of us who have remained on the fence until now, his raunchy, rat-a-tat parody is proof that beneath all of the bratty immaturity lays the head and heart of an outrageous quick-draw satirist.
  13. Maleficent
    The characters are boiled down to their essentials, the humor is timelessly broad, and Jolie's at her best when she's curling her claws and elongating her vowels like a black-sabbath Tallulah Bankhead.
    • 31 Metascore
    • 33 Critic Score
    Blended
    In Blended, his (Sandler) comic flab has never felt as thick, and this hackneyed "family-friendly" entertainment feels less like a movie than a bad sit-com re-run.
  15. Words and Pictures
    It’s a rom-com setup lamer than anything in the Barrymore-Sandler canon, but Binoche and Owen tackle it like high drama and eke out a few sweet moments.
  16. We Are the Best!
    As a coming-of-age story, the film is a bit uneventful. But the girls’ rebellious, fist-in-the-air spirit and the warmth of their friendship are undeniable.
  17. Night Moves
    While the first hour is evocative and suspenseful, the second doesn’t quite muster the depths of paranoia and doom you’re led to expect.
  18. Lucky Them
    The movie is disappointingly flat-footed about both rock and journalism, and its shaggy plot sheds logic as it goes. Still, the actors are excellent; they’re triple crème slathered on an odd little undercooked biscuit of a script.
  19. The Love Punch
    There’s nothing remotely original about the premise, and jokes about prostates feel more pandering than funny, but the leads make this dumb romantic caper watchable.
  20. Horses of God
    Director Nabil Ayouch hammers his points rather bluntly, but his filmmaking is hypnotic.
  21. Cold in July
    Johnson ties some of the film's looser ends together and makes you overlook the ones that stay untied. Between "Eastbound & Down," "Django Unchained", and now Cold in July, Johnson has a nice little streak going of turning seemingly disposable characters into indelible scene-stealing rascals.
  22. X-Men: Days of Future Past
    Not surprisingly, the best thing about Days of Future Past is that it's heavier on the days past than future.
  23. Million Dollar Arm
    It's the latest male weepie cast from the same Disney mold as "The Rookie and "Miracle," and it's essentially "Jerry Maguire Goes to Mumbai."
  24. Godzilla
    He doesn't seem too interested in his actors — they're more plodding than their reptilian costars and you don't care about a single one of them — but Edwards does know how to fashion some serious monster mayhem.
  25. Legends of Oz: Dorothy's Return
    There's barely a trace of the magic of 1939's "The Wizard of Oz"; the bricks are still yellow, but the road doesn't lead anywhere special.
  26. Moms' Night Out
    It's a shame that this glossy production doesn't seem to realize it's actually promoting an altogether different message: when moms dare to leave the house, everything goes wrong.
  27. Stage Fright
    It’s half "Friday the 13th," half "Phantom of the Paradise," and just cheesy enough to work.
  28. God's Pocket
    In one of his final roles, Philip Seymour Hoffman stars as a man whose no-good stepson is killed on a construction job, while John Turturro, Richard Jenkins, and Christina Hendricks round out a formidable cast that isn’t given much to work with.
  29. Fed Up
    Some lessons are overfamiliar (almonds good, corn syrup bad), but the section on corporate influence over school lunches is enough to make you spit out that 20-ounce soda from the concession stand.
  30. The Double
    Director Richard Ayoade (Submarine) gets a huge impact from minimal expressionist sets, but the thin story — loosely based on Dostoyevsky’s 1846 novella — plays like a pale reflection of a more exciting tale.
  31. Devil's Knot
    The movie doesn’t grab you emotionally, but director Atom Egoyan (Exotica) teases apart the case’s details with grim fascination.
  32. Chef
    The first two thirds of Chef crackle with hunger-inducing imagery and laughter-provoking gags.
  33. Neighbors
    Speaking in her native Aussie twang, Byrne shows that she's a deadpan comic ace. And thanks to her chemistry with Rogen, Neighbors proves that just because you grow up doesn't mean you have to be a grown-up.
  34. Walk of Shame
    A lumpy and laughless farce from writer-director Steven Brill (Drillbit Taylor, Little Nicky), a man who never told a joke he couldn't ruin.
  35. Bad Johnson
    The jokes are flaccid, the acting is stiff, and the whole idea is such a boner, you have to wonder if the writer was missing another critical organ when he came up with it.
  36. Ida
    With her brassy, determined aunt, Ida sets off to find answers and discovers life beyond the convent walls in this leisurely but satisfying journey.
  37. For No Good Reason
    The British illustrator’s process of creating his surreally deranged, truth-to-power cartoons is fascinating, but the rest of the film lacks the same mad spark.
    • 59 Metascore
    • 58 Critic Score
    For a Woman
    The acting is largely irreproachable, but the direction is leaden, and the movie just can’t overcome its clunky framing device and nagging air of inauthenticity.
  39. Beneath the Harvest Sky
    The film’s first half feels almost as directionless as its characters, but the detailed specificity of the milieu and story proves engrossing.
  40. The Protector 2
    Thai martial-arts maestro Tony Jaa’s newest film overloads on terrible F/X that rob the film of the actor’s usual brute-force balleticism.
  41. Belle
    Like "Downton Abbey" but with corsets, culottes, and tricorn hats, Belle subtly skewers the absurd rules and hypocrisies of class. But the real takeaway is Mbatha-Raw. She makes a case for why she ought to be a star.
  42. The Amazing Spider-Man 2
    It's a Marvel spectacle that manages to deftly balance razzle-dazzle, feel-it-in-your-gut slingshot moments of flight and believable human relationships. There's psychological weight to go with all of the gravity-defying, webslinging weightlessness.
  43. The Other Woman
    This one has its own wonky charm and intermittent moments of genuine, depraved hilarity; it's like "Bridesmaids" drawn in crayon.
  44. The Quiet Ones
    Aside from a few cheap but effective shocks and jumps, there's nothing here that horror fans haven't seen in better recent films like "The Conjuring." Not to mention all of those wonderful Hammer films from the '50s and '60s.
  45. Brick Mansions
    It's fun to watch at first. All that twirling and sliding is a nice change of pace from the usual seat-shaking pyrotechnics.
    • 62 Metascore
    • 83 Critic Score
    The German Doctor
    The family he preys on is a tad too unsuspecting to be believable, but the film still hits notes of deep tension. And the cast is superb, especially Àlex Brendemühl as the “Angel of Death” himself.
  47. Bright Days Ahead
    The script is wispy, but the performances (including Patrick Chesnais as Caroline’s prideful, devastated husband) shine.
  48. Blue Ruin
    With the same brand of realist irony the Coens used to cool down "Blood Simple," writer-director Jeremy Saulnier slows the genre’s heartbeat to gripping effect.
  49. A Promise
    It’s well made but drearily familiar.
  50. Young & Beautiful
    Young & Beautiful, with its barrage of fairly graphic sex scenes, is a throwback to the erotically charged, envelope-pushing Euro art-house films of the '60s and '70s such as Blow-Up and Last Tango in Paris.
  51. Locke
    Yes, Locke is a bit of a storytelling stunt: For the entirety of the movie, Ivan is the only character on screen. But even with nothing to cut away to and no flashbacks to offer context, the film manages to stay as tight as a vise.
  52. A Haunted House 2
    You don't walk into a movie like A Haunted House 2 expecting anything remotely scary or serious, but you don't expect to walk out feeling a terrible sense of dread, either.
  53. Heaven Is for Real
    Heaven is for Real has lots of sweet, Rockwellian imagery of small-town life and family high jinks. What it doesn't have is dramatic tension.
  54. Transcendence
    Watching it all unfold and slowly go off the rails, you can't help but wonder what Pfister's mentor, Nolan, might have done with the same material. My guess is he would have sent the script back for a Page One rewrite for starters.
  55. Bears
    There's an elemental appeal to watching these animals hunt and play in the Alaskan wildnerness, and the Disneynature team has mastered the art of capturing it.
  56. Draft Day
    Draft Day is "Moneyball" Lite. And if that sounds like a slight, it's not intended as one.
  57. Rio 2
    There are fun moments, especially with Kristin Chenoweth’s vampy poison dart frog. But with more evolved films like "The LEGO Movie" and "Frozen" in the animated ecosphere, overstuffed and gag-reliant time-passers like the Rio movies feel like a dying breed.
  58. Oculus
    Unless you’re Billy Bob Thornton, old furniture just isn’t all that scary.
  59. Hateship Loveship
    The supporting cast includes Nick Nolte, Christine Lahti, Jennifer Jason Leigh, and Hailee Steinfeld, making the movie’s greatest accomplishment the fact that it was able to squander so many interesting actors.
    • 58 Metascore
    • 83 Critic Score
    Fading Gigolo
    He (Turturro) lands a three-way with two eager ladies (Sharon Stone and Sofia Vergara), but it’s his platonic meet-up with a lonely Hasidic widow (Vanessa Paradis) that establishes the deepest bond.
  61. Cuban Fury
    Frost is a likable bloke with a deft physical grace to match his rat-a-tat one-liners. But all the sequins and silk shirts in the world can’t disguise the film’s too-familiar formula.
  62. The Railway Man
    Colin Firth smolders as the PTSD-riddled veteran (played in flashbacks by War Horse‘s Jeremy Irvine), and Nicole Kidman cries dutifully as his wife — but they’re both derailed by the movie’s tidy emotional resolutions.
  63. Only Lovers Left Alive
    It's always a thrill to see what an artist as singular as Jarmusch will do next. I just wish that his foray into the world of the undead had a little more to sink its beautiful fangs into.
  64. Joe
    Both Cage and Sheridan (who shined opposite Matthew McConaughey in Mud) give true and at times tender performances. It's a shame the film lacks the same subtlety and force.
  65. Nymphomaniac: Volume II
    A notch more watchable than Volume I, if only because Joe, the self-destructive heroine, is now played front and center by the magnetically dyspeptic Charlotte Gainsbourg instead of the vacuous model Stacy Martin.
  66. The Galapagos Affair: Satan Came to Eden
    A stranger-than-fiction gem.
  67. Anita
    The film itself feels a bit padded and clunky.
  68. Alan Partridge
    Like so many reunions, this one starts off all smiles and quickly grows tiresome.
  69. Captain America: The Winter Soldier
    The creators of Captain America: The Winter ­Soldier have brought off something fresh and bold.
  70. Under the Skin
    As a film, Under the Skin is hauntingly freaky and ultimately frustrating. But as a movie star's gamble to be seen as more than just a moneymaking member of the Marvel universe, it's a home run.
  71. The Unknown Known
    To take the playfully convoluted, semi-nonsensical aggression of Rumsfeld's language and make it the whole point of a movie is to fall into the trap of mistaking the spin for the story.
  72. Dom Hemingway
    If ever there were an actor ripe to ''McConaughnesize'' his career, it's Jude Law — and guess what, he has done it, spectacularly, in Dom Hemingway.
  73. Sabotage
    You won't respect yourself in the morning, but you might have some dumb, lizard-brain fun.
  74. Noah
    Noah is a movie about big ideas (environmentalism, heavenly obedience versus earthly love) and even bigger directorial ambitions (how to tell a personal story on the grandest of grand scales). But, in the end, it's also a disappointment. Maybe not one of Biblical proportions, but a disappointment nonetheless.
  75. Finding Vivian Maier
    More connect-the-dots detective thriller than traditional doc, John Maloof and Charlie Siskel’s revelatory riddle of a film unmasks a brilliant photographer who hid in plain sight for decades working as an eccentric French nanny.
  76. Afternoon of a Faun: Tanaquil Le Clercq
    A spooky, heartbreaking documentary.
  77. Big Men
    Rachel Boynton’s gripping doc shows you what happens when the greed of oil companies meets the chaos of postcolonial Africa.
  78. Breathe In
    Buoyed by some nicely nuanced performances (especially by Pearce and Amy Ryan as his dream-dashing wife), Breathe In never quite rises above its predictable potboiler premise.
  79. Cesar Chavez
    In the title role, Michael Peña has a no-nonsense fire: He captures how Chavez borrowed from Martin Luther King Jr. but also fueled the struggle with his own improvisatory brilliance.
  80. Mistaken for Strangers
    The finest rock doc since "Anvil: The Story of Anvil." Matt Berninger, lead singer of the National, is a 40ish indie-rock star who carries himself like a hip lawyer.
  81. The Raid 2
    The Raid 2 will make you feel like Christmas came nine months early. Some action sequels don't know when to say when. But here's one where too much is just the right amount.
  82. Muppets Most Wanted
    The film loses some of its fizz by giving in to a so-so caper plot that unintentionally proves the axiom they were just satirizing.
  83. Nymphomaniac: Volume I
    It's both exhausting and laughable in its eagerness to shock. That's the bad news. The worse news is that Volume II comes out next month.
  84. Divergent
    Woodley, through the delicate power of her acting, does something compelling: She shows you what a prickly, fearful, yet daring personality looks like when it's nestled deep within the kind of modest, bookish girl who shouldn't even like gym class.
  85. Tyler Perry's The Single Moms Club
    As with most of his films (Madea-centric and otherwise), subtlety isn’t Perry’s strongest suit. He tends to hammer his audience over the head with canned sentimentality, lazy stereotypes, and easy uplift.
  86. Bad Words
    Bateman deserves props for sustaining Bad Words as a little balancing act between sulfurously funny hatred and humanity.
  87. Need For Speed
    A moderately popular racing series that the powers that be have tried to turn into a turbo-boosted stunt-car extravaganza of the same make and model as the "Fast & Furious" franchise.
  88. Veronica Mars
    As directed by series creator Rob Thomas, the movie, like the show, is entertainingly fast-talking in a tidy, faux-serious way. Kristen Bell, if anything, has only gained in appeal.
  89. Mr. Peabody & Sherman
    Back in his day, Mr. Peabody was a dog whose over-civility had bite. Now he's a genius you want to cuddle with.
  90. The Grand Budapest Hotel
    A marvelous contraption, a wheels-within-wheels thriller that's pure oxygenated movie play.
  91. 300: Rise of an Empire
    The film belongs to Green — maybe the only actress ever to "graduate" from being a Bertolucci muse to a bloodthirsty action-flick dominatrix.
  92. Son of God
    At best, this version succeeds as a Sunday school supplement. But the blandness is enough to make you long for Mel Gibson's "The Passion of the Christ."
  93. Kids for Cash
    [A] harrowing documentary.
  94. The Bag Man
    The only one having any fun in this dead-on-arrival noir is Robert De Niro.
  95. The Lunchbox
    It’s neorealist corn, but it gets to you.
  96. Stalingrad
    Stalingrad is a 3-D epic that's one-dimensional.
  97. Non-Stop
    Once again Neeson is a straight-faced secret weapon. With his lion's roar and can-do fists, he grounds the film's more preposterous moments and makes them feel excitingly tense. At a certain point either you'll fasten your seat belt and go with Non-Stop's absurd, Looney Tunes logic or you won't.
  98. 3 Days to Kill
    The movie never finds a way to blend the emotional and the rat-a-tat-tat into one seamless package the way that Besson did in his one and only good movie, The Professional (1994).
  99. Pompeii
    Most of the film is a chintzy but watchable B-movie knockoff of "Gladiator," with Kit Harington, the English actor from "Game of Thrones," mustering very little in the way of facial expressivity in the role of Milo.
  100. Frankie & Alice
    It's just a matter of time, flashbacks, many costume and accent changes, some more jazz, and a triggering tune on the radio before the truth can set Frankie, and the audience, free.
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