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 2.1 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. Pee-wee's Big Holiday
    A lot of us have really missed Pee-wee, and seeing him go through his fun-house morning regimen at the outset of the film is a giddy treat. It’s like catching up with an old friend. But nostalgia gets you only so far.
  2. Forsaken
    Donald spits hot fire and brimstone, but Kiefer remains as bland an avenging angel of action as ever.
  3. JeruZalem
    The niftily claustrophobic use of actual Jerusalem locations offers a nice holiday from the more familiar backdrops favored by the POV genre.
  4. Desierto
    A classed-up B-movie riff on "The Most Dangerous Game." Call it “Tex-Mexploitation.”
  5. Frank & Lola
    Shannon’s intensity is the best thing Frank & Lola has going for it. And it’s almost enough to make it work.
  6. Hunt for the Wilderpeople
    The film is maddeningly uneven. Just as it starts to settle into an inspired groove, it uncorks a couple of gags that fall lethally flat, making for half of a great comedy.
    • 68 Metascore
    • 67 Critic Score
    Equity
    Unfortunately, Equity sometimes buckles under the weight of its self-imposed, gendered duty. In attempting to say so much about women vs. women in a cutthroat industry, it paints itself almost too seriously.
  8. Ava's Possessions
    Krause’s deadpan wit, coupled with the inspired scenes at Spirit Possessions Anoymous, make Ava’s Possessions a fun, fresh take on a genre staple.
  9. F9: The Fast Saga
    F9 sure sounds like a lot of fun. Why is it only a little fun?
    • 68 Metascore
    • 67 Reviewed by
      Ty Burr
    Bopha!
    There’s sorrow here to fill a thousand Hollywood movies—and in the end, it swamps the boundaries of movie convention.
    • 69 Metascore
    • 67 Critic Score
    The Mermaid
    The Mermaid is at its best when it embraces the ridiculous, no-holds-barred, farcical comedy that Chow has become known for, thanks to films like Kung Fu Hustle and Shaolin Soccer.
  12. Patriots Day
    Patriots Day benefits from a robust, concentrated timeline and sheer bat-out-of-hell pacing.
  13. Batman Returns
    Batman Returns offers many jolts of pleasure, yet it’s also a mess — a gilded sketchbook of a movie that keeps falling open to random pages.
  14. Lights Out
    This movie purposely inspires viewers to think about serious topics, and then disregards the consequences of doing so, undermining the whole enterprise. The final physical sensation is not terror or relief, but disgust.
  15. The Do-Over
    The plot threads can be a little hard to follow, especially since most of them revolve around two unseen characters who are dead before the story even begins, but Sandler and Spade’s partnership gives the whole enterprise enough emotional grounding to make up for it.
  16. The Shallows
    The Shallows could have been a really fun B-movie. And in a lot of ways, it is. There’s no denying that it has some great jump-scares and scratches a certain summer itch we all get this time of year. Too bad it’s a bit too watered down.
    • 86 Metascore
    • 67 Critic Score
    Richard III
    Watching the splendid Ian McKellen embody any Shakespeare character is always a pleasure, and his slithery portrayal here of the Bard’s most hissable villain is a treat.
  18. Tulip Fever
    As Chadwick (The Other Boleyn Girl, Mandela: Long Walk to Freedom) piles on the coincidences and misdirections, the movie finally collapses under its own schematic weight, and wilts to the ground.
  19. Bridgend
    Based on a real-life rash of teen suicides in Wales, Danish director Jeppe Rønde’s 2015 Tribeca winner feels like the sort of slow BBC America procedural you’d quickly give up on.
  20. The Meg
    It is ridiculous, cheesy popcorn fun. And Statham, God bless him, knows exactly what kind of guilty pleasure he’s signed on for — Sharknado with a bigger budget and a much bigger monster.
  21. Nerve
    This is a film about young people with a youthful energy and sense of fun that’s refreshing, especially in the summer of movies we’ve had so far. The tone and relatively low stakes allows Nerve to be shallow, divertive escapism—kind of like Snapchat.
  22. Denial
    Sadly, it’s hamstrung by a patchy script (by David Hare) and an oddly flat-footed performance by Rachel Weisz as Lipstadt.
  23. Almost Christmas
    In all, it’s a pleasant enough way to spend two quiet hours with the extended family, but Almost Christmas probably won’t be your next holiday tradition.
  24. Bleed for This
    With the exception of maybe two scenes, you’ve seen everything in this movie before.
  25. Transpecos
    Transpecos is a lean-and-mean atmospheric thriller that starts off tautly but ultimately slackens as it goes along.
  26. Bad Santa 2
    As long as you know what you’re in for, the film is a hilarious good time, a respectable continuation of what made the first "Bad Santa" so fun.
  27. Mascots
    If you’re a Guest devotee, you’ll be in the stands cheering; otherwise, Mascots feels like a bit of a retread.
    • 74 Metascore
    • 67 Critic Score
    Little Sister
    Timlin and Paulson create a believable rapport as the central siblings, though it’s Sheedy’s chemistry with the camera (and her character) that creates the film’s most dramatically satisfying moments.
  29. In Dubious Battle
    For all its noble intentions, though, the movie struggles to transcend broad outlines: Its characters are strictly symbols, timeworn archetypes of good and evil as threadbare and familiar as the artfully faded calicos and denim on their backs.
  30. The Autopsy of Jane Doe
    The Autopsy of Jane Doe is essentially a 90-minute episode of Jack Klugman’s late-’70s TV show "Quincy, M.E." with more graphic gore, goo, and guts.
  31. Always Shine
    The too-clever conceit sabotages the whole thing.
  32. The Zookeeper's Wife
    Even at its most engaging (those cubs!), Zookeeper can’t help evoking the dozens of films that have told these stories before, and better.
  33. Before I Fall
    A teen melodrama that’s steeped in clichés but still has an unexpectedly poignant message.
  34. Unforgettable
    Surprisingly tasty serving of delirious junk food.
  35. Dean
    As a result, the movie comes across like a bunch of “bits” when it really should be getting at deeper emotions and truths. Then again, Woody Allen, another comedian-turned-writer/director, ran into that same problem back at the beginning of his career. And he ended up doing okay.
  36. Paris Can Wait
    An airy, half-baked meringue of a movie, Paris Can Wait is the kind of film that leaves you famished — not just for la belle vie on screen but for the stronger sustenance of plot and character.
  37. Hotel Transylvania 3: Summer Vacation
    The harmless high jinks all go down easily enough without being particularly memorable or pushing the art form past the expected.
  38. Marjorie Prime
    Marjorie Prime in itself feels not unlike Walter’s hologram — almost real and almost human, but not quite flesh and blood.
  39. Trolls World Tour
    Despite falling for some classic sequel potholes, Trolls World Tour continues the fun energy of its predecessor in a way that should provide some quarantine relief for families.
  40. 47 Meters Down
    As far as cheap warm-weather junk food goes, it will suffice. It will have to.
  41. Outbreak
    For today’s filmmakers, the addiction to kinetic overkill has become a disease in itself.
  42. The Killing of a Sacred Deer
    Farrell delivers his lines with the same replicant monotone he used in The Lobster. And Kidman, the only cast member who expresses recognizably human emotions, extends her recent hot streak. But even she’s not enough to give this head-scratcher any real life.
  43. Bohemian Rhapsody
    Maybe unavoidably, the movie that’s emerged from all that has the distinct whiff of compromise and art by committee — the opposite, in other words, of nearly everything Queen’s flamboyant, defiant frontman stood for.
  44. The Trip to Spain
    How many times can you watch two middle-aged men impersonate Michael Caine? Your answer to that question will determine whether you should tag along with Steve Coogan and Rob Brydon on their third and latest fictionalized (and largely improvised) eating tour of Europe.
  45. Godard Mon Amour
    Michel Hazanavicius’ new film, Godard Mon Amour, tackles that period in Godard’s life on and off the screen — and does it in a dismissively light-hearted way that I’m sure the auteur himself loathes.
  46. How to Talk to Girls at Parties
    What saves it is the casting (Fanning especially is fantastic, both winsome and wonderfully strange) and Mitchell’s obvious fondness for his milieu. His giddy, knowingly camp direction has a sort of glitter-stick DIY spirit that keeps the movie aloft long after the story itself has run out of road.
  47. The Square
    Only half of these setups go anywhere very interesting. The rest just feel like button-pushing stunts that, like so much of the merry-prankster conceptual art Christian champions, zero in on your intellect rather than your gut. Or, better yet, your heart
  48. Apostle
    Netflix feels like a proper home for a film this idiosyncratic. After all, you’ll know within 30 minutes stumbling onto it whether you want to keep following its unsettling descent into blood-soaked madness or pick up your remote and head over to the relatively sunnier and safer comforts of "Broadchurch."
  49. Charlie's Angels
    This new Charlie’s Angels gets very crush-y between silly excess and striving ambition, but even the sugar is flammable.
  50. Sherlock Gnomes
    Sherlock Gnomes doesn’t quite have the originality and spark to make it a pop-culture phenomenon. Yet it’s still an enjoyable family adventure with a solid message.
  51. The Man Who Invented Christmas
    Again, we know the beats by heart, but there’s a reason A Christmas Carol has been told every which way from Muppets to Disney. You can’t help getting swept up in it, even if you’ve heard it all before.
  52. What's Eating Gilbert Grape
    This is one nowhere boy who commands your attention.
  53. The Upside
    The racial politics feel almost willfully retro, but the actors’ charisma cuts through: Forced to work strictly from the neck up, Cranston is just the right amount of gruff; Hart, aside from a deeply unnecessary catheter scene, gives a gratifyingly prickly and vulnerable performance. Somewhere beneath this passable-enough Upside, there’s a better, sharper movie for them both.
  54. The General
    The General, for all its panache, is ultimately an unsatisfying movie. The reason, I think, is that Boorman’s slightly puerile romanticization of Cahill keeps getting in the way of the reality he’s showing us.
  55. It Could Happen to You
    It Could Happen to You is a syrupy-sweet package undiluted by wit, tartness, observation. It would be easier to enjoy the stars in Charlie and Yvonne’s eyes if the movie didn’t keep patting them on the back.
  56. Chaos Walking
    Mikkelsen has played iconic villains before, and while Prentiss isn't nearly as memorable as Hannibal Lecter or Le Chiffre, he still manages to imbue Chaos Walking with a sense of danger.
  57. Where'd You Go, Bernadette
    Linklater, who brought such subtle, generous feeling to films like Boyhood and the Sunset trilogy, feels somehow miscast as the steward of Bernadette‘s willful eccentricities.
  58. 12 Strong
    For a movie produced by red-meat action maestro Jerry Bruckheimer and starring Thor himself as the face of camo-clad vengeance, 12 Strong somewhat surprisingly manages to fall (just barely) on the nuanced side of the scale. Even if you can feel the film’s director, Nicolai Fuglsig, battling with himself to get it there.
  59. TRON
    Jeff Bridges seems to be the only one having fun, playing a videogame designer who gets sucked into a Day-Glo world of his own creation. It’s like Alice in Wonderland acted out on a kids’ Lite-Brite toy.
  60. Fried Green Tomatoes
    An extended framing device set in the present day, with Kathy Bates as a put-upon housewife who becomes the fierce, confident, new-and-improved ”Tawanda,” is the sort of ghastly idea that gives feminism a bad name. The movie left me wishing its sterling cast — including a radiant Jessica Tandy — had been better served.
  61. Night and the City
    For all its promising elements, Night and the City confronts us, yet again, with one of the most dismaying paradoxes in contemporary movies: that the actor who once seemed the heir to Brando, Clift, and, yes, Widmark — the actor who once got so far inside his roles that he just about detonated the screen — now plays characters who don’t seem to have any inner life at all.
  62. Loving Pablo
    Escobar’s story hardly lacks for plot points, and director Fernando León de Aronaoa (Mondays in the Sun) hits them all obligingly, if broadly. What he doesn’t carve out much room for is richer character motivations or context.
  63. Manhunt
    Still, there are enough glimpses of the old master peeking through that it’s hard not to have a bit of a good time. It turns out that even second-rate (okay, third-rate) Woo has its moments.
  64. Under Siege
    In the brutally efficient Under Siege, Seagal, with his soft-spoken nihilist charm, attempts to move beyond limb-snapping exploitation and into epically scaled mainstream thrillers. He succeeds — but only because this sort of slick action bash doesn’t require a star with much personality. At this point, personality might only get in the way.
  65. Apocalypse Now Redux
    I don’t think Apocalypse Now Redux is superior to the 1979 version. Quite the contrary, it’s draggier and more portentous, more inflated with its own importance.
  66. Presumed Innocent
    The convolutions of Turow’s plot remain absorbing, and Presumed Innocent is certainly as watchable as a lot of other courtoom-investigative thrillers. Yet almost everything in the picture feels sterile and posed. Pakula is good at laying out an intricate, almost mathematical series of events (his best film remains All the President’s Men), but he’s not big on atmosphere. The movie could have used some of the bowels-of-the-city grit Sidney Lumet brought to Q & A.
    • 56 Metascore
    • 67 Critic Score
    Sabrina
    The new Sabrina is both pokier and gauzier than the original.
  68. Homicide
    Homicide is engrossing, at least for a while, but the truly personal movie it wants to be remains locked up in Mamet’s head.
  69. The Goldfinch
    The Goldfinch feels like more than the sum of its disparate parts; a painting in the wrong frame, maybe, but one whose imperfect beauty still draws you in.
  70. What They Had
    While it’s loaded with excellent ensemble performances and flashes of real poignancy, it can’t seem to help itself from occasionally jack-knifing into heavy-handed wrong turns that can play as clichéd or phony. It’s half of a great movie.
  71. Robin Hood: Prince of Thieves
    As a piece of escapism, this deluxe, action-heavy, 2-hour-and-21-minute Robin Hood gets the job done. You’re carried along by plot, production values, and some choice supporting actors. Yet it’s a rouser without a rousing hero. Costner doesn’t disgrace himself — he has the star presence the role demands. What he’s not is an impassioned Robin Hood. And without the sense that Robin is on a humanistic mission (one that’s a pleasure to fulfill), the story has no charge.
  72. Like Water for Chocolate
    With its cowlike Cinderella heroine pining for forbidden love while she slaves over her bewitching recipes (and knits a shawl as long as a city block), Like Water for Chocolate offers old-fashioned romantic masochism-Harlequin pulp-dressed up in a magical-realist veneer. It makes being a happy homemaker seem wondrous again.
  73. Cadillac Man
    Cadillac Man, like the recent I Love You to Death, starts out as comedy on a human scale and turns into canned farce. For an actor like Robin Williams, that’s the movie equivalent of being muzzled.
  74. Don't Worry, He Won't Get Far on Foot
    One imagines the real John Callahan, who died in 2010, would have appreciated a film that wasn’t afraid to call him an a—hole
  75. High Life
    High Life is, at turns, gorgeous, ridiculous, and confounding. Yet, the more you wrestle with it, the more it haunts you. As for Pattinson, who commits as fully as ever, he can rest easy knowing that he’s left his audience another riddle to chew on.
  76. Suspiria
    It’s likely to be enjoyed more by audiences unfamiliar with the original.
  77. Piercing
    Clocking in at a lean and very mean 81 minutes, writer-director Nicolas Pesce’s follow-up to his grim 2016 black-and-white arthouse chiller "The Eyes of My Mother" is a sick-joke psychological cat-and-mouse game with just enough twists to keep you on your toes.
  78. Finding Your Feet
    Finding Your Feet leans heavily on its cast of British screen greats. Luckily, Staunton, Imrie, Spall, Lumley et al are up to the task of dancing around most of the plot’s more tired or ill-considered moments.
  79. Death Race 2000
    Death Race 2000 isn’t the sharp satire Corman thinks it is, but it’s fun.
  80. Uncle Drew
    You more or less know what this soft-drink-sponsored movie is going to be as soon as the lights start to dim. What makes it worth recommending is that it ends up being just slightly more than that by the time the lights come back on.
  81. Death on the Nile
    In a post-Knives Out world, is a movie like this meant to be a classic whodunit for the whole family, or something more deliberately meta and modern? Branagh mostly lands on the former: a sort of sumptuous dinner-theater redux studded with stray bits of caricature, camp, and many CG pyramids.
  82. Yardie
    Yardie is a sprawling drug-world saga, but whatever narrative flaws it has are helped out by an infectious selection of dub-heavy reggae tracks and an authentically gritty sense of period and place.
  83. Sister Act
    The movie is a Disneyfied contradiction: a lapsed-Catholic comedy without a whiff of true blasphemy. Still, on its own fluffy terms, it’s pleasant nunsense.
  84. Anon
    The story works well enough in its own moodily familiar way, but it’s not only the movie’s palette that’s stylishly leached of color: Its main characters’ backstories feel perfunctory, the dialogue leans heavy on exposition and hard-boiled cliché, and even Owen looks worn down.
  85. Christopher Robin
    Forster (Finding Neverland, World War Z) never quite finds the alchemy in Milne’s timeless tales, or the melancholy sweetness of his being-and-nothingness koans. Instead it’s just an earnest tribute, tastefully faithful to the source — and flatter, somehow, than the story ever was on the page.
  86. Boundaries
    It all bumps along, as road trips do, through silliness and boredom and occasional, unexpected charm. But Feste’s story never really gets the rhythms right, and Boundaries finally reaches the end of the road, feeling like nothing so much as a missed opportunity.
  87. The House with a Clock in Its Walls
    Black, no surprise, steals the show, manically hamming it up like Harry Houdini on laughing gas, while Roth tries to keep the breakneck pace of his phantasmagoria going. As someone who was growing bored with Roth’s gory shockfests, I say: “Welcome to the kiddie table, Eli.”
  88. The Grudge
    The Grudge is overly reliant on jump scares and the sheer number of characters involved here means that some are thinly-drawn, though the crackerjack cast of actors breathes at least some life into their respective parts. The real asset here — as well as the movie’s main likely problem for many viewers — is its bleak tone.
    • 61 Metascore
    • 67 Critic Score
    The Jerk
    The Jerk‘s threadbare plot follows the brilliantly convoluted story.
  90. A Very Brady Sequel
    The most impressive thing about A Very Brady Sequel is the shrewd care that has once again been taken to evoke the look and tone of the endlessly repeated, ultimate ’70s family sitcom.
  91. The Cable Guy
    The movie flirts with a darker Carrey, but, ironically, most of it gives us a safer Carrey, an anarchist caught in routines too patterned to let him break loose.
  92. Ibiza
    More than anything, the film feels a bit like a trial balloon for the relative star power of Jacobs, who’s been promoted from best friend to headliner here.
  93. Good Boys
    In the end, it’s their fundamental goodness — not all the wicked, winky “bad” — that’s easily the best thing about Boys.
    • 46 Metascore
    • 67 Critic Score
    Zardoz
    A silly, impenetrable movie starring Sean Connery (attired in the dumbest costume ever) as a ponytailed barbarian who obeys a giant stone head.
  95. Fast & Furious Presents: Hobbs & Shaw
    Director David Leitch (Atomic Blonde, Deadpool 2) seems to know how to set up his outrageous set pieces, then get out of the way often enough to let his stars do what they need to do: Joke, chokehold, kiss, and smash until the helicopters come home.
  96. Dogman
    Marcello may remain a mystery, but the thing that makes Dogman worth checking out is the actor who portrays him. It’s a performance that never barks too loudly, but leaves you with an unmistakable bite.
  97. Coneheads
    As a big-screen comedy, Coneheads isn’t all that funny either, yet it’s blithe and inventive and surprisingly light on its feet.
  98. Five Feet Apart
    It’s just another three-hankie teen weepie, albeit one with the saving grace of another excellent Haley Lu Richardson performance that gooses the film just past serviceable into the realm of slightly better than average.
  99. Sirens
    It’s a measure of the film’s middlebrow kitschiness that its centerpiece sequence turns out to be a tasteful soft-core version of the lesbian ravishment of Marilyn Chambers in "Behind the Green Door."
  100. Dumbo
    As a faithful update of a cherished classic, the new Dumbo will get the job done for restless kids on a rainy Saturday afternoon. Still, we’ve come to expect more magic, more bizarro pixie dust from Burton. Maybe that’s why the second marriage between the director and Disney feels more like an uneasy corporate alliance than a union of artistic passion.
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