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 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. Draft Day
    Draft Day is "Moneyball" Lite. And if that sounds like a slight, it's not intended as one.
  2. St. Vincent
    Murray, of course, can play a redeemable misanthrope with one hand tied behind his back. Unfortunately, that's exactly what he has to do here because writer-director Theodore Melfi reins in his leading man with a script that doesn't know when to stop troweling on the sap.
    • 62 Metascore
    • 75 Critic Score
    Lucy
    By the time the film exhausts itself—in a brisk 89 minutes — it feels like there's literally nowhere that Lucy and Besson can't go, no boundaries, no laws, no logic. Just go with it.
  4. 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.
  5. 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.
  6. 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.
  7. Masterminds
    Masterminds has been “coming soon” for so long it would put "Batman v Superman" to shame, but the end result is an entertaining comic thriller with physical showcases for many of Saturday Night Live’s best recent veterans.
  8. 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.
  9. 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.
  10. 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.
    • 69 Metascore
    • 75 Critic Score
    The Drop
    While Gandolfini fills in the gaps and silences, Rapace never colors in her underwritten character, making her a glorified MacGuffin who hangs around far too long.
    • 73 Metascore
    • 75 Critic Score
    A Most Wanted Man
    Crackles with a jigsaw-puzzle intelligence and features a superbly subtle lead performance from the late Philip Seymour Hoffman, who single-handedly gooses the post-9/11 procedural through some of its slower patches.
  13. 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.
  14. They Came Together
    Most of the jokes land bluntly – ”This is a cliché!” – but tight pacing and a killer cast, which also includes Ed Helms and Christopher Meloni, make up for the inconsistent gags.
  15. The Internet's Own Boy: The Story of Aaron Swartz
    Swartz’s ex-girlfriend adds heart when she tearfully recalls first seeing the ”end date” on his Wikipedia page.
  16. Life After Beth
    The premise would make for a great Funny or Die video, but stretched out to feature length, it runs out of ideas pretty quickly. Still, Plaza is terrific. She commits so fully to her rabid, Romero-esque alter ego, she chews the movie up.
  17. Dear White People
    The movie finds real power in its climax, a party that turns into a nightmarish orgy of leering white kids in blackface. And the end-credit photos of real parties just like it at schools across the country are a stark reminder of the ugliness that Dear White People, flawed as it is, wants to confront.
  18. Happy Christmas
    That doesn’t stop the movie as a whole from feeling a little slight, though, like a Christmas tree that isn’t entirely filled out.
  19. I Origins
    It works its own sort of magic. After all, who doesn't want to believe that the soul does have a window, and that if it closes we might open it again?
  20. 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.
  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. The Lunchbox
    It’s neorealist corn, but it gets to you.
  23. A Walk Among the Tombstones
    As a throwback to a type of nasty, ugly crime film of yesteryear, A Walk Among the Tombstones cleans up.
  24. 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.
  25. Starred Up
    Like Eric Bana's menacingly raw breakout in 2000's "Chopper" or Tom Hardy's in 2008's "Bronson," O'Connell bristles with terrifying hair-trigger unpredictability. Watching him, you feel like you're witnessing the arrival of a new movie star.
  26. Planes: Fire & Rescue
    Despite somewhat of a direct-to-DVD plot, the perilous and elaborate rescue scenes are certainly big-screen-worthy. Canny references to '70s television and some genuinely funny moments will give grown-ups enough fuel to cross the finish line.
  27. Yves Saint Laurent
    Scenes between YSL and rock-steady lover Pierre Bergé (Guillaume Gallienne) spark, but the film stays too reverent to truly turn heads.
  28. Focus
    What keeps the film humming along as smoothly as it does is the chemistry and charisma of its leads.
  29. The LEGO Movie 2: The Second Part
    As entertaining as The Lego Movie 2 ends up being — and let’s be clear, it’s still better than 99 percent of its competition — there’s something missing: that white-hot spark of insane creativity and out-of-the-box novelty that made the first Lego Movie such an unexpected, revolutionary surprise. Everything is still awesome. Just a little bit less so.
  30. 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.
  31. 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. 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
  33. 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.
  34. Anita
    The film itself feels a bit padded and clunky.
  35. 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.
  36. Stage Fright
    It’s half "Friday the 13th," half "Phantom of the Paradise," and just cheesy enough to work.
  37. 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.
  38. A Monster Calls
    Bayona packs his tale with spellbinding visuals and honest emotion, and if the ending doesn’t reduce you to tears, you may be the real monster.
  39. The Hundred-Foot Journey
    I never entirely bought the flirty détente between the two or believed in the rapturous power of a perfectly cooked sea urchin to solve the world's problems. But for two hours, at least, I swallowed it with a smile.
  40. 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.
  41. 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.
  42. 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.
  43. The One I Love
    Charlie McDowell's romantic brainteaser is disarmingly clever — too clever to spoil. But it's also repetitive and a bit too Spike Jonze lite.
  44. Goodbye to Language 3D
    Packed with dazzling images, the film makes 3-D feel like something brand-new to the medium.
  45. 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.
  46. Wild Tales
    Damián Szifron’s Wild Tales almost feels too audacious, too crazy, and, in some ways, too slight for the Oscars.
  47. Sausage Party
    Conceived by the conjoined comedic minds of Seth Rogen, Jonah Hill, and Evan Goldberg and baked (in more ways than one) for more than eight years, the movie looks like Pixar but plays like "Pineapple Express" unleashed among actual pineapples.
  48. The Net
    The Net is an efficient, workmanlike thriller that, at its best, does a canny job of exploiting the more fanciful edges of computer-age dread.
  49. The Good Lie
    It's a deeply touching story about survival, perseverance, and hope.
  50. 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.
  51. Silence
    At 160 stately, glacial minutes, it’s also an endurance test — one that can feel like its own act of faith to pass.
  52. 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.
  53. The Disappearance of Eleanor Rigby: Them
    Disappearance is worth watching for Chastain's fierce performance as a woman swallowed up by bone-deep grief. If we can feel exactly what Eleanor is feeling, maybe we're not so alone after all.
  54. No No: A Dockumentary
    The fact is, Dock Ellis was...complicated. Probably a lot more so than No No makes him out to be.
  55. 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.
  56. 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.
  57. Pride
    Celebrated theater director Mathew Warchus (Matilda, The Norman Conquests) unstiffens many of the script's clichés by affecting a sparkling, musical tone — producers have stated their intentions to bring Pride to Broadway, à la fellow miners-strike movie "Billy Elliot."
  58. The Nice Guys
    Gosling and Crowe have a surprisingly fizzy, ferret-and-bull chemistry, and the hedonistic Me Decade setting is groovy.... But the one-liners and shoot-outs feel a bit threadbare, handed down from older, better Shane Black movies.
  59. Now You See Me 2
    Jon M. Chu (several Step Up movies) has taken over directing duties from Louis Leterrier, and he has a lighter, goofier touch. He seems to get that the silliness is baked in.
  60. 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.
  61. 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.
    • 42 Metascore
    • 75 Critic Score
    Inferno
    Bourne it is not, but the twists come with enough regularity to keep the squishier parts of the plot from mucking up the works.
  63. 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.
  64. Shazam!
    Shazam! is basically two movies in one. One with Levi and his wiseass foster brother (a fresh Jack Dylan Grazer), the other with Strong and all his snarling, computer-generated gobbledygook. And they both have the other in a headlock, wrestling for the soul of the story. I loved one, yawned through the other.
    • 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.
  66. Thor: Ragnarok
    Ragnarok is basically a Joke Delivery System — and on that score, it works. The movie is fun.
  67. 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.
  68. Avengers: Infinity War
    What saves Infinity War from being just another bloated supergroup tour – and what will end up being the thing that blows fans’ minds to dust – is the film’s final stretch.
  69. Captain Marvel
    Captain Marvel only figures itself out toward the end, when a couple twists I won’t spoil sharpen the spanning saga into a motley-crew errand of mercy.
  70. Zootopia
    Zootopia delivers the genre’s requisite barrage of quick-hit puns and pop culture riffs.
  71. 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.
  72. 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.
  73. 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.
  74. 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.
  75. 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.
  76. 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.
  77. The Greatest Showman
    The movie never quite stops feeling like Moulin Rouge! written in extra-large block font, or Broadway projected straight onto a big screen, which certainly isn’t bad news if that’s exactly what you love.
  78. The Purge: Election Year
    If, on the other hand, it’s sleazy kicks you’re after, you’ll be in exploitation heaven. Because writer-director James DeMonaco’s third chapter in the thrill-kill vigilante franchise is the best and pulpiest Purge yet.
  79. Ghost in the Shell
    If there’s anything Sander’s ravishing set pieces fail to sufficiently color in, it’s the movie’s emotional stakes.
  80. All the Wilderness
    Yes, writer-director Michael Johnson cranks the Malick meter up to 11 in this sensitive coming-of-age drama.
  81. 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.
  82. 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.
  83. 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.
  84. 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.
  85. 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.
  86. Steve Jobs
    As sharp and slick as Steve Jobs is, it ends up feeling more interested in entertainment than enlightenment.
  87. Queen of Earth
    The result is chilling and beautifully composed, a stylish study of disintegration that is easier to admire than enjoy.
  88. 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.
  89. Mike and Dave Need Wedding Dates
    Efron and Devine are an endearingly loony duo, and as much as Plaza and Kendrick never quite sell their vixen shtick, the supporting cast is wickedly stacked. It’s like riding a roller coaster fueled by Red Bull and grain alcohol: kind of gross but pretty fun, too.
  90. 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.
  91. 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.
  92. Suffragette
    It’s a shame that, despite some excellent performances, this urgent, well-intentioned film feels so conventional and stolid.
  93. 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.
  94. 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.
  95. The Magnificent Seven
    This Seven’s just silly, solid entertainment: multiplex fun by numbers.
  96. 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.
  97. 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.
  98. 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.
  99. 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.
  100. Maze Runner: The Death Cure
    There’s a pleasing sort of B-movie-on-an-A+-budget simplicity to Death Cure.
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