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. The Finest Hours
    An intermittently affecting, sanded-edge adventure that feels as if it trundled off the studio production line back when Eisenhower was in office.
  2. 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.
  3. 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."
  4. The Great Wall
    The Great Wall looks like it could be a really amazing video game. Alas, it’s a movie, and kind of a brick.
  5. Star Trek Beyond
    Beyond is more fun than deep. It’s lightweight, zero-gravity Trek that is, for the most part, devoid of the sort of Big Ideas and knotty existential questions that creator Gene Roddenberry specialized in.
  6. The Boss
    A few moments are fantastically bonkers, but granting director duties to McCarthy’s husband, Ben Falcone, feels more like an act of love than wisdom.
  7. 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.
  8. Ghostbusters
    With a cast as daring and quick as this one, Ghostbusters is too mild and plays it too safe.
  9. Rings
    As a threequel, Rings suffers a bit from franchise fatigue. It tries to fix that by giving viewers an even deeper look at the mythology of Samara and the videotape, with mixed results.
  10. Z for Zachariah
    The lack of drama and heat keeps Z for Zachariah joyless without much despair. It’s the end of the world as we know it, and you’ll feel bored.
  11. Cop Car
    Cop Car feels like a great short stretched into a mediocre feature.
  12. 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.
  13. Neighbors 2: Sorority Rising
    You’ll probably laugh hard more than once; Sorority Rising is still rich in bikinis and bong rips and boner jokes. It just doesn’t have much heart.
  14. 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.
    • 52 Metascore
    • 58 Critic Score
    Central Intelligence
    While not necessarily a diamond-in-the-rough itself, Central Intelligence proves that Johnson has always been at the center of his own ring, in more ways than one. It just took the rest of us (and Hollywood) a little longer to notice.
  16. Burnt
    Just when you think you know where Burnt is headed, there’s an underhanded twist about halfway in. And it’s almost enough to set the movie right.
  17. 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.
  18. 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.
  19. Love
    The big draw should be 3-D, which enhances the visual intimacy, though only in shooting a male orgasm does Noé go gonzo with the format.
  20. By the Sea
    Jolie Pitt, who also wrote and directed, shows a lot of skin (her own and her cast’s) without ever really getting under it. Misery doesn’t just love good-looking company; it needs an emotional center and a satisfying narrative arc, too.
  21. The Accountant
    The whole thing’s ludicrous, down to the last loony twist, but it’s also a lot more fun than Batman v Superman.
  22. Our Little Sister
    Despite fine intentions and four lovely performances from the female leads, Our Little Sister is simply too light to be felt. It floats away in the wind—and the memory — like a paper umbrella.
  23. 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.
  24. 13 Hours: The Secret Soldiers of Benghazi
    There’s a real story of American heroism somewhere in here, but it’s diluted by Bay’s worst tendencies.
  25. The Boy
    The film’s biggest flaw is that there’s never any doubt about where Ted is going to end up.
  26. Demolition
    Jake Gyllenhaal’s wild-card performance is the only reason to bother with "Dallas Buyers Club" director Jean-Marc Vallée’s manipulative downer.
  27. Metropolitan
    Instead of a full-bodied comic portrait of the coming-out-party set, Metropolitan offers a thin, cartoon version. Then it uses that cartoonishness to make everyone on-screen seem irresistibly cute.
  28. The 5th Wave
    The frankly preposterous nature of the film’s setup is rendered slightly less so by a couple of second act reveals. But, by then, many viewers will have lost interest in a movie with a very high bodycount but a very small amount of grit, either emotional or literal.
  29. High-Rise
    There are certain movies that you really want to like based on their ambition, or their weirdness, or their ambitious weirdness, and ultimately you just can’t. Ben Wheatley’s High-Rise is one of those movies.
  30. The Forest
    Perhaps the biggest problem with The Forest is that it’s ultimately not very scary.
  31. Ant-Man and the Wasp
    Ant-Man and the Wasp is working too hard to look unconvincingly relaxed.
  32. Godzilla vs. Kong
    If you want a great monster movie that's actually also about people — how they think and talk and feel when they're more than just screaming kaiju chum in the water — try 2017's Colossal, currently streaming on Hulu. If not, maybe Godzilla vs. Kong's brawling lizard-brain shock and awe is exactly the void you came for.
  33. Snatched
    As Snatched’s blonde-leading-the-blonde farce careens on, it stumbles into moments of deranged inspiration.
  34. Lamb
    Based on a lauded 2011 novel of the same name, Lamb is about as strange as it sounds: a Lolita story almost more unsettling for the lines it doesn’t explicitly cross.
  35. The Huntsman: Winter's War
    It’s the movie equivalent of a cake that’s all frosting.
  36. Fifty Shades of Black
    The film manages to be surprisingly subversive with its humor.
  37. King Arthur: Legend of the Sword
    King Arthur could have been a rollicking blast. Instead it’s just another wannabe blockbuster with too much flash and not enough soul.
  38. Certain Women
    It isn’t until the wonderful Gladstone comes along with her aching tomboy heartache and sad seeking eyes that the film finally burrows below the surface and finally hits a dramatic nerve. Unfortunately, by then, it’s too little too late.
  39. Swiss Army Man
    A hot, strange mess that never quite comes together the way it should.
  40. Operation Avalanche
    The movie’s premise has trouble sustaining a feature-length running time, getting mired in repetitive jokes and a third-act swing into harder-core suspense that never really connects.
    • tbd Metascore
    • 58 Critic Score
    Ratter
    Ratter definitely delivers an effective paranoia creep-factor towards the end, but first, the audience has to get through about 45 minutes of just watching Ashley Benson cook eggs, shave her legs, and dance in her living room.
  42. Transformers: The Last Knight
    Monster metal, mass destruction, Anthony Hopkins saying “dude.” This is your brain on Michael Bay—a cortex scramble so amped on pyro and noise and brawling cyborgs it can only process what’s happening on screen in onomatopoeia: Clang! Pew-pew! Kablooey!
  43. Hands of Stone
    Falls victim to too many trite boxing-movie clichés and is in way too much of a rush to cover too much narrative ground. It sometimes feels like you’re watching it with a finger on the fast-forward button.
  44. Emelie
    Those scenes do allow star Sarah Bolger to showcase her range as a babysitter gradually transforming from sweet to sinister.
    • 73 Metascore
    • 58 Critic Score
    Queen of Katwe
    Nyong’o’s gravitas is undercut by a script teeming with wooden platitudes, special lessons learned, and the overbaked dialogue of a Joan Crawford melodrama.
  46. Cell
    While it’s nice to see Cusack and costar Samuel L. Jackson downplay rather than go big, Cell has a been-there-done-that quality that winds up feeling a bit disappointing.
  47. Bite
    It seems to exist merely to spoil your appetite.
  48. Little Man Tate
    Little Man Tate keeps introducing characters and narrative lines that seem promising, but it doesn’t sustain them. The movie feels like three Afterschool Specials welded together.
  49. Rough Night
    A raunchy, wildly off-the-rails farce from the team that more or less brought you Broad City.
  50. Kingsglaive: Final Fantasy XV
    Instead of trying to adapt the video game experience into a film format, Kingsglaive transforms the movie-going experience into something familiar to video game fans. It’s essentially a really long cutscene.
  51. War on Everyone
    Crass, senseless, and relentlessly talky, War on Everyone mostly seems like a movie at war with itself.
  52. Ithaca
    In all, Hanks’ casting feels like a missed opportunity—much like the rest of Ithaca.
  53. Ferdinand
    Unfortunately, Ferdinand buries the original story’s message under frenetic action scenes and grating sidekicks, turning a classic tale into just another flat animated comedy.
  54. Voyage of Time: The IMAX Experience
    Voyage of Time is a beautiful diversion, but almost entirely empty, even in its inquisitive big swings for profundity.
  55. Lady Macbeth
    There’s a provocative idea at the center of Oldroyd’s beautifully photographed film — repression exploding into madness and violence. But as the body count rises, Lady Macbeth loses its secret weapon: sympathy.
  56. The Promise
    Even lush set pieces and a raft of prestige players (including Shohreh Aghdashloo, James Cromwell, and Jean Reno) can’t fulfill the movie’s pretty, ultimately empty promise.
  57. Wilson
    Wilson has some deliciously awkward laughs thanks to Harrelson’s curmudgeonly, childlike performance, but it zips right along without ever landing any emotionally resonant blows.
  58. The Hitman's Bodyguard
    The Hitman’s Bodyguard is strictly an Economy Coach experience, but it’s brainlessly fun enough in a late-’90s Brett Ratner buddy-comedy kind of way.
  59. The Commuter
    Peppered with implausibilities and foul-smelling red herrings, The Commuter downshifts from a solid cat-and-mouse joyride to a ridiculous howler, insulting its audience’s patience and intelligence at every turn.
  60. Red Sparrow
    Like some nefarious KGB amnesia serum, Red Sparrow mostly evaporates from your memory five minutes after you walk out of the theater.
  61. Megan Leavey
    Megan Leavey is one of those strong-arm soaps, and it certainly doesn’t hurt that it has a certain secret weapon in the forced-waterworks department—an adorable bomb-sniffing German shepherd. All together now: Awwwwww.
  62. Casting JonBenét
    A clever filmmaking experiment? Without a doubt. A satisfying one? Not so much.
  63. Daddy's Home 2
    Of course, there’s a sort of comfort in familiarity, especially around the traditions of the holidays. But Daddy’s Home 2 never manages to really catch you off guard and crack you up the way the best comedies should.
  64. The First Purge
    Where the Purge movies could have been about the slow — and then terrifyingly rapid — dismissal of morality and social norms, like "High-Rise," it chooses instead to skate through those haunted house scares and clunky symbolism.
  65. Gemini
    All style and mood, signifying not much.
  66. Hot Summer Nights
    Bynum shoots it all in high pop-pastiche style, with a near-constant barrage of neon freeze frames, slow-pan party shots, and romantic montages set to an eclectic, decade-spanning soundtrack (Tarzan Boy, David Bowie, Roxette, Suicide).
  67. Venom
    Venom isn’t quite bad, but it’s not exactly good either. It’s noncommittally mediocre and, as a result, forgettable. It just sort of sits there, beating you numb, unsure of whether it wants to be a comic-book movie or put the whole idea of comic-book movies in its crosshairs.
  68. Mary Magdalene
    No one can argue that Mary Magdalene isn’t a well-intentioned film. It’s just that while Mara convinces you that Mary deserves a more contemporary reappraisal, she also lays bare the fact that she deserves a better movie in which to accomplish it.
  69. Suburbicon
    The movie does get some fun gory mileage out of its cracked-Pleasantville premise; but mostly it feels like broad farce madly in search of a cohesive center, and a soul.
  70. Mile 22
    It’s both a bit confusing and a bit confused. Fortunately, it’s also loaded with some of the crunchiest action scenes since the John Wick movies thanks to Indonesian martial-arts maestro Iko Uwais.
  71. Dolittle
    The film is so eager to please, so relentlessly quippy and quirky and tipped with antic whimsy, it often feels like visiting a zoo built into a Tilt-A-Whirl.
  72. Widows
    It’s entertaining enough for popcorn — and gratifying, too, to watch these smart, strong women step into roles they’re so often left to support from the sidelines, while men have all the contraband fun. If only the execution of it didn’t feel like such a crazy-quilt patchwork of other, better films, and so jaggedly stitched together.
  73. Glass
    Yes, it’s easy to be impressed by the world that Shyamalan has created and now fleshed out, but it would be nice if we were also moved to feel something too. In the end, Glass is more half empty than half full.
  74. The Glass Castle
    Too much of the plot is spun with vanilla, especially tacked-on scenes of Walls’ starched careerist life in New York City with her Banker Boyfriend (Max Greenfield), presumably to engineer more screen time for the lead actress.
  75. Memoirs of an Invisible Man
    There’s every indication that director John Carpenter (Halloween) was trying for more than another rinky-dink Chevy Chase comedy. Except for the effects, though, Memoirs of an Invisible Man comes disappointingly close to being just that.
  76. Proud Mary
    Henson clearly has the swagger, charm, and ferocity to make one hell of an action star. She deserves a movie that does her talents justice.
  77. Escape from L.A.
    Carpenter never was the filmmaker his cult claimed him to be, but in Escape From L.A., he at least has the instinct to keep his hero moving, like some leather-biker Candide.
  78. The Addams Family
    It might have helped had the film included a few more representatives of the straight world. As it is, there’s almost nothing for the family to play off. We’re shut up in that mansion right along with them, and the kookiness grows fatally quaint.
  79. My Cousin Vinny
    My Cousin Vinny is the definition of obvious, and it’s way too long (do films like this really need an hour’s worth of setup?). But Pesci and Tomei make a first-rate team — they’re Punch and Judy gone Brooklyn.
  80. Patriot Games
    For Patriot Games to have been more than a generic international thriller, it would have needed to take us deep inside the clandestine organizations — the IRA and the CIA — on which Clancy is fixated. That doesn’t happen.
  81. Rising Sun
    There’s a real spark to Connery’s performance, but except for that Kaufman has produced a middling contradiction, a thriller too polite to hit its target.
  82. The Happytime Murders
    There are a few spiky moments of sick, WTF fun (a bout of rough sex that ends with a Silly String climax; the first time a puppet drops an F-bomb), but mostly it feels like a promising idea poorly executed.
  83. I Feel Pretty
    There’s also something depressing about Schumer playing off her own looks as if, without the abracadabra of her bonked-head delusions, she were some sort of hideous gremlin. Magician, heal thyself.
  84. The Leisure Seeker
    When a sunset romance does come along, you can’t help but root for it. Which is why it gives me no joy to report that The Leisure Seeker is pretty disappointing.
  85. Rebel in the Rye
    You won’t find much new light shed on the reclusive author of The Catcher in the Rye in writer-director Danny Strong’s polished but cliché-festooned biopic Rebel in the Rye.
  86. City Slickers II: The Legend of Curly's Gold
    There have been far shoddier sequels, but City Slickers II remains a good example of why more is sometimes less.
  87. My Girl
    My Girl has some sweet, funny moments (the cast is uniformly appealing), yet it unfolds in a landscape of paralyzing, pop-psych banality.
  88. It: Chapter Two
    The main problem with Chapter Two is that it goes on, and on, for so very long. If brevity is not necessarily the soul of a good scare, it would certainly serve a story that sends in the clowns, and then lets them just stay there — leering and lurking and chewing through scene after scene — until the there’s nothing left to do but laugh, or leave.
  89. The Strangers: Prey at Night
    Two films in, The Strangers has already become a horribly familiar franchise.
  90. After Dark, My Sweet
    After Dark, My Sweet is cool and compelling for about 45 minutes, but it has a clinical, hothouse garishness that grows oppressive.
  91. Pokémon Detective Pikachu
    As the wisecracking voice of Pikachu, Ryan Reynolds deserves some sort of special citation for doing the best he can without Deadpool’s f-bombs (or a decent script) to lean on. But the main problem is that the film’s gumball-mayhem plot is so frenetic that it’s impossible to determine if it makes a lick of sense. Maybe that was the point.
  92. Blue Chips
    The folly of Blue Chips is that the film makes this greased-palm corruption seem an even bigger sin than it is. (It's like a political drama made by someone who is shocked, shocked at the sleaze of campaign financing.)
  93. Mortal Engines
    Despite all of the film’s retro-future eye candy, it never quite sweeps you out of your seat and transports you someplace new. It’s a squeaky salvage job that could have used a fresh dose of oil to make it hum.
  94. Overboard
    Overboard lists and wanders through the shoals of secondhand comedy and eventually, just drifts away.
  95. The Catcher Was a Spy
    Sadly, it isn’t a great movie. It’s a disappointingly mild period thriller that’s light on thrills. Even Paul Rudd, one of the most likable actors in Hollywood, can’t rescue it.
  96. Six Degrees of Separation
    By the end, most moviegoers are liable to see it as much ado about nothing.
  97. The Legacy of a Whitetail Deer Hunter
    After about 10 minutes, The Legacy of a Whitetail Deer Hunter feels borderline promising. After 80, it feels like a blown opportunity.
  98. Valley Girl
    As it stands, the movie is just as slick as the lifestyle it supposedly mocks.
  99. Red Notice
    For all the outsize fight scenes and casual profanity though, the whole thing is oddly bloodless. (Even a rampaging bull hardly leaves a bruise.) And so Red Notice goes: blithely skimming through its slapstick fantasy, and laying bejeweled eggs wherever it lands.
  100. Death Becomes Her
    The trouble with Death Becomes Her isn’t that its comic vision is too dark but that it has no shadings, no acerbic glee. Zemeckis gives nastiness such a hard sell he forgets to take any delight in it.
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