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. 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.
  2. The Boss Baby
    Like many DreamWorks movies, The Boss Baby‘s most imaginative moments are the random asides.
  3. Mistress America
    Noah Baumbach’s latest wisp of privileged New York whimsy vaporizes on arrival.
  4. Knock Knock
    Knock Knock is a pretty flimsy erotic thriller, but thanks to Reeves’ oaken obliviousness it’s also got a few moments of deliciously trashy fun.
  5. Hot Pursuit
    What’s spanglish for déjà vu? There’s hardly a single moment in Hot Pursuit that won’t remind you of scenes you’ve seen at the multiplex a thousand times before. (The movie’s original title was Don’t Mess With Texas, probably because Thelma & Louise Ride the Pineapple Express All the Way to Jump Street — and They’ve Got Lethal Weapons, Y’all! was just too long.)
  6. Snowden
    It somehow manages to make a fascinating, utterly contemporary narrative feel like old news.
  7. The Boy
    The Boy, from director William Brent Bell, aims to set itself squarely in the fictional canon of "Chucky" and its brethren, but it ends up trying to do so much that it forgets to scare us.
  8. Free State of Jones
    Ross wants to shake up the format­—notably with a few scenes set 85 years after the war—but like so many directors who have tackled ­historical social issues before him, he confuses noble, cornball sermonizing for art.
  9. Keeping Up with the Joneses
    Between Zach Galifianakis, Isla Fisher, Jon Hamm, and Gal Gadot, Keeping Up with the Joneses has a stacked cast, but thanks to a tepid script from Michael LeSieur (You, Me and Dupree), they don’t actually get that much to do.
    • 56 Metascore
    • 50 Critic Score
    7 Chinese Brothers
    The movie’s soundtrack is excellent. Too bad that it’s one of the only things this cinematic portrait of a serial screw-up has going for it.
  11. The Vatican Tapes
    The Vatican Tapes is basically “Exorcism’s Greatest Hits” played by a schlocky cover band.
  12. The Gallows
    This is another found-footage movie that, with a little art direction and some actual cinematography, could easily have been a decent little terrorizer. Instead, it comes mostly unglued thanks to its hacky gimmick.
    • 48 Metascore
    • 50 Critic Score
    Ride
    Hunt seems to confuse fast-talking with crackling banter, and the mother-son bond is way ickier than it is cute.
  14. We Are Your Friends
    The film fakes emotion with flashing lights and a pulsing soundtrack, and before Cole realizes the music was in him this entire time (ugh), the story falls flat
  15. 3 Generations
    Director Gaby Dellal (On a Clear Day) admirably avoids the trap in which transgender characters are portrayed as victims, but she way overcranks the “movie” neuroses of her three characters, muffling any human spark.
  16. The Equalizer 2
    Apart from the film’s occasional spasms of rousing, lightning-choreographed ultraviolence (a confrontation with an apartment full of date-raping finance bros is particularly great), the film is too enamored with its own morose righteousness to be very engaging.
  17. Our Brand Is Crisis
    The comedy here isn’t very funny and the drama isn’t very sharp.
  18. Extinction
    Director Miguel Ángel Vivas tries to add a family-drama twist to an otherwise standard survival story, but the characters aren’t complex enough (and the secrets aren’t explosive enough) to elevate this beyond a basic zombie flick.
  19. Truth
    For a movie about the importance of objectivity, Truth feels like a biased and sanctimonious op-ed column.
  20. Jumanji: Welcome to the Jungle
    Welcome to the Jungle isn’t a bad movie. It’s a diverting, mildly amusing, competent bit of big-budget studio product. And maybe those are the stakes we’re now playing for these days.
  21. Fathers and Daughters
    Fathers and Daughters’ predictable plot keeps it from ever becoming a truly enjoyable tearjerker.
  22. Love the Coopers
    Even with such a talented ensemble, Love The Coopers’ convoluted narrative and overreliance on Christmas clichés keeps it from sparking any real holiday magic.
  23. Jack Reacher: Never Go Back
    Like its predecessor it’s an unremarkable placeholder until the next "Mission: Impossible" flick comes along.
  24. Hardcore Henry
    A hypercaffeinated first-person action flick that teeters somewhere between gonzo insanity and a nausea-inducing endurance test.
  25. A War
    Once again, the shaky handheld camerawork in the battle scenes don’t portray chaos so much as a sense that the cinematographer was being attacked by desert bees
  26. Remember
    A twisted helix of "Memento" and "Munich" without either of those film’s craft, depth, or thematic murkiness.
  27. Heist
    The heist in Heist is pretty pedestrian, and the film turns into Die Hard-on-a-bus with a couple of so-so twists and serviceable spasms of action. If that’s what you’re looking for, rent Speed instead.
  28. The Choice
    The Choice feels like Mad Libs with some of Sparks’ laziest clichés — a romantic rowboat, a colorful small-town carnival, a jealous upper-class boyfriend — and the result is a predictable, recycled mess.
  29. Shelter
    Its intentions are noble. Its gaze is harshly realistic. But it’s also overly melodramatic. Bettany has the makings of better director than screenwriter.
  30. Fist Fight
    The jokes are downright sophomoric… and sparse.
  31. Why Him?
    It all works in theory. But the execution’s off.
  32. The Space Between Us
    The Space Between Us attempts to take young love to literally new heights before crash-landing into an earthbound hash of schmaltzy clichés and romantic absurdities.
  33. The Wave
    The visual effects are excellent, but director Roar Uthaug, who’s been tapped to reboot the "Tomb Raider" franchise, splashes in the clichés of big, dumb American action movies.
  34. Star Wars: Episode IX - The Rise of Skywalker
    We need a new franchise designation for this stumbling, bloodless conglomeration of What Once Was. Rise of the Skywalker isn’t an ending, a sequel, a reboot, or a remix. It’s a zombie.
  35. Misconduct
    The movie’s silly-arty aesthetic is regurgitated Polanski, and there’s a shameless script steal from "Presumed Innocent."
  36. Baywatch
    Honestly, I’ve seen more narratively ambitious Mad Libs.
    • 65 Metascore
    • 50 Critic Score
    The Confirmation
    The Confirmation becomes a string of father-son misadventures that lack memorable characters or engaging dialogue.
  38. Fast X
    Fast X wants all the grandiosity of finality while not actually ending anything.
  39. Going in Style
    A lazy hash of cheap geezer gags and spoon-fed sentiment.
  40. Nina
    Saldana (Avatar, Guardians of the Galaxy) is an accomplished and bankable actress, but she doesn’t look much like Simone. That has led to several complaints, including from the Simone estate.
  41. Genius
    The movie — dutifully shot in shades of old-timey sepia — does get better as its staginess falls away, but far too much drama stays on the page.
  42. Annabelle: Creation
    Annabelle: Creation isn’t a terrible film. Not exactly. The set-up is promising, and it offers some decent early jump scares. But eventually the thinness of the material becomes overwhelmingly obvious.
  43. The Duel
    The plot may be fairly predictable, but Harrelson goes all in as the deranged preacher, and he’s a delight to watch, whether he’s wiggling his eyebrow tattoos or prancing about town on horseback, dressed in an all-white suit. Hemsworth, on the other hand, remains monotone.
  44. Ouija: Origin of Evil
    Effective horror relies on the actualization of some deep-seated cultural fear, but Ouija: Origin of Evil supplies only ineffective clichés and half-hearted attempts at franchise building.
  45. Table 19
    Slight even by the wafer-thin standards of the wedding rom-com genre, writer-director Jeffrey Blitz’s Table 19 offers a couple of mild chuckles, six actors who’ve all been far better elsewhere, and a mercifully brief running time.
  46. Demon
    A so-so meditation on historical amnesia. It’s also so weighted down with mysticism and metaphor it forgets to quicken your pulse or whiten your knuckles.
  47. The Rocketeer
    The Rocketeer is mostly an example of pop moviemaking at its most derivative.
  48. Land of Mine
    Land of Mine is essentially bomb porn.
  49. Mute
    The one thing Mute has going for it is Jones’ vividly imaginative sense of world-building. Like Ridley Scott with "Blade Runner," he fills every corner of the screen with something cool to look at.
  50. True Memoirs of an International Assassin
    True Memoirs is harmless, disposable junk food that has just enough laughs to make you feel like you didn’t get scammed.
  51. American Assassin
    As Hurley and Rapp race against the terrorists, the plot is too dumb to be taken seriously and too self-serious to be any fun.
  52. Flatliners
    It often feels like Flatliners is trapped between multiple genres without knowing exactly what kind of movie it wants to be, and the result is a confused mess.
  53. All We Had
    The directorial debut of actress Katie Holmes, starring herself as Rita, a drunk single mother living out of her car, is the latest well-intentioned yet lousy-with-clichés treatment in the hard-luck-woman subgenre.
  54. Gifted
    In the end, what should be a three-hankie, ugly-cry tearjerker feels unnuanced, overplotted, and mechanical. Frank and Mary deserved better.
  55. A Wrinkle in Time
    A Wrinkle in Time hits that unfortunate un-sweet spot common to big-budget science-fiction/fantasy, where the spectacle feels more summarized than experienced.
  56. Robin Hood
    On all fronts, it strives to twist the Robin Hood story into something more provocative, but ultimately it’s a garbled, hollow mess of attempts at relevancy.
  57. The Last Word
    Shirley MacLaine’s well-deserved reputation as a salty, snappy grand dame — forged from later-career work like "Terms of Endearment," "Steel Magnolias," "Postcards from the Edge," "Bernie", etc. — unfortunately precedes her in this sloppy, saccharine drama costarring Amanda Seyfried.
  58. The Book of Love
    It’s a diabetically sappy big-screen self-help seminar that should have been titled The Book of Schmaltz.
  59. Sleight
    You’d hope that a film like this could put a bold new spin on the superhero story. The reverse is true: Here we are in 2017, and even our nifty low-budget crime movies are building a cinematic universe, and saving the best stuff for the sequel.
  60. Manifesto
    The goal of any manifesto is making its aims as clear as possible. But it’s never clear what this Manifesto is aiming for besides a cheeky roll call of intellectual camps. Ph.D.s in art theory will chuckle knowingly as everyone else eyes the exit.
  61. The Dinner
    On paper, writer-director Oren Moverman’s The Dinner has all the ingredients for what should be a four-star feast. But from the opening course, it’s clear that something has gone wrong in the kitchen. Moverman, the chef, has tried to make his creation too clever and complicated.
  62. A Ghost Story
    Some, no doubt, will find Lowery’s playfully surreal experiment (a ghost story told from the POV of the ghost) haunting, lyrical, and moving. Others (ahem, guilty as charged) will just find it maddening, inscrutable, and alienating. Check it out, then take your side in the debate.
  63. Bokeh
    There’s a seed of an interesting, Twilight Zone premise here — what would you do if you were the last two people on earth? But Bokeh doesn’t seem to know what to do with it besides have its photogenic Adam-and-Eve leads take long nature walks, play board games, and upgrade their living conditions.
  64. mother!
    The title isn’t the only thing about the film that has an exclamation point; every scene comes with one – and also seems to be in blaring, buzzing neon. The movie doesn’t know when to stop.
  65. Orlando
    As a fantasy, Orlando has been spun out of a rather glib idea: that the mere assertion of Androgyny As Destiny is automatically a brave, emotionally triumphant stance for our time. The truth is, when androgyny is shrouded in this much deadening ”art,” it becomes little more than a haughty exercise in academic chic.
  66. Mighty Joe Young
    Neat as Joe looks, you do wish that someone had bothered to give him a personality.
  67. The Girl in the Spider's Web
    Now a miscast Claire Foy adopts the hacker vigilante’s black leather and badass avenging-angel attitude for The Girl in the Spider’s Web — a disappointingly safe, by-the-numbers action-thriller.
  68. Death Note
    The whole thing feels like the pilot episode of a third-rate comic-book vigilante TV show.
  69. Goodbye Christopher Robin
    The film’s main conflict is with its source material, twisting and wringing Milne’s life for everything it’s worth and hoping enough is squeezed out to qualify as a film.
  70. Welcome To Marwen
    If Marwencol made your heart go out to Mark, Welcome to Marwen does something quite different. It makes you want to back away from him slowly.
  71. Gringo
    While the fish-out-of-water caper is stuffed with whiplash turns and colorfully eccentric lowlife characters, it never adds up to much. It’s so busy you might think there’s more to it than they’re really is.
    • 51 Metascore
    • 50 Critic Score
    Breathe
    A tame, vanilla whimper of a period drama begging for a better treatment in more assured hands.
  73. Death Wish
    Eli Roth’s Death Wish isn’t a bad movie as far as super-violent exploitation flicks go. But it is a deeply problematic one. And that problem boils down to this: It’s the absolute wrong movie at the absolute wrong time.
  74. In the Mouth of Madness
    Look for bloody axes, grotesquely disfigured zombies, and creepy visions — much of it bloatedly self-indulgent and a small part wicked funny about the influence of guys like Stephen King/Sutter Cane who write words read by people who don’t read anything else, or maybe don’t read at all but only go to movies like this one.
  75. The Prince of Tides
    The difference between The Prince of Tides and a movie like Ordinary People is that Streisand isn’t content with exploring human pain. She had to make it glamorous, too.
  76. I.Q.
    I.Q. is easy enough to sit through, but it’s all surface come-on-the romantic-comedy equivalent of a shallow young Hollywood star who puts on fake glasses so that it will look like he, too, has brains.
  77. Jigsaw
    It feels too long, and it’s only 90 minutes. Jigsaw’s lifecoach-gone-mad ruminations have never sounded less threatening: He is become mansplainer, destroyer of drama. But there are lasers. I liked the lasers.
  78. The Nutcracker and the Four Realms
    The rare quiet moments in Nutcracker suggest Foy might be a real movie star. Let’s give her a real movie and find out.
    • 68 Metascore
    • 50 Critic Score
    Top Secret!
    The result is a monkeyshine that lumbers when it should swing.
  80. Gotti
    The problem with the film’s buckshot “this-happened-and-then-that-happened” storyline is that Connolly keeps hurtling ahead from scene to scene trying to touch every base in Gotti’s life of crime without every letting any one moment breathe long enough for it to resonate.
  81. Super Troopers 2
    Isn’t aggressively terrible or outrageously offensive. It’s just harmless, pointless, and meh. You’d think with 17 years at their disposal these guys would be able to come up with some jokes that weren’t so half-baked and dumb. Alas, this is low-hanging fruit all the way.
  82. Papillon
    As for the new Papillon, it wisely doubles down on high adventure, but it’s still as lifeless as its predecessor. Just in different ways.
  83. Tommy Boy
    Just when you thought you’d erased the memory of Adam Sandler in Billy Madison playing a slobbo idiot who must prove he’s worthy of taking over his father’s business, along comes Chris Farley playing a slobbo ; idiot who must prove he’s worthy of taking over his father’s business. Yet this movie, unlike Sandler’s fiasco, does at least have a few scuzzy laughs.
  84. Ghost Stories
    Pretty light on scares and only hangs together with the thinnest (and hokiest) of narrative threads.
  85. The Rhythm Section
    In the second half, the movie even manages a few rare moments of visceral thrill, and even something like catharsis. But nothing ever quite gels; instead, the story just keeps banging toward its bloody conclusion, always a little off the beat.
  86. Casper
    What’s depressing about the current Hollywood mania to literalize old cartoon series isn’t that a show like Casper is such bad source material. It’s that the movie version is like the cartoon without innocence — a fairy tale with the soul of a rerun.
  87. Hellboy
    The best thing I can say is: This is a mess that makes no sense, so it’s a cure for the common overly architected superhero film.
  88. Alita: Battle Angel
    This manga adaptation is a tired science-fiction odyssey, with bland digital effects piled onto a sappy non-story that feels like a two-hour elevator pitch for a 70-film franchise.
  89. Species
    It doesn’t help that the special effects are second-rate; the squishy primal horror of Alien has been replaced by a kind of mechanized yuckiness. The team of B-movie scientists tracking the monster includes Ben Kingsley doing his over-deliberate American accent, Alfred Molina sporting a haircut that’s scarier than the creature, and Forest Whitaker as an empath so sensitive he can’t let anyone sneeze without making a dewy-eyed psychic pronouncement.
  90. Permanent Midnight
    Permanent Midnight never shows us who Jerry Stahl was before he began shooting junk, and so we have no real stake in what the drugs did to him. He’s a case study in search of a movie.
  91. Breaking In
    It’s a fun, pulpy premise, but sadly, the film takes a route that’s too silly to be taken seriously and too tame to be any fun.
  92. The Man Who Killed Don Quixote
    With Adam Driver and Jonathan Pryce now in the roles once occupied by Johnny Depp and the late Jean Rochefort, Don Quixote turns out to be a pretty typical Gilliam film: whimsically daffy, frantically overstuffed, and art-directed to within in an inch of its life. It’s often transporting, but even more often exhausting.
  93. Lizzie
    By the time the climactic act of violence finally arrives, there’s barely enough patience left in the viewer to feel any real sense of catharsis or liberation. Just exhaustion.
  94. Love and Other Catastrophes
    A slight romantic comedy about five winsome Australian university students who fret and joke about their romantic woes when not talking about movies and cinematic theories. Each has a charming quirk — one (Frances O’Connor) is a cute lesbian, another (Alice Garner) is writing a thesis on Doris Day — but none is deeper than a bag of Reese’s Pieces.
  95. The Week Of
    It feels like Smigel and Sandler just shot the first draft of their script without fine-tuning or polishing any of the jokes.
  96. Toy Soldiers
    It’s Dead Poets Society meets Die Hard. The movie is competent, smoothly photographed, and pretty much free of false, baby-Rambo heroics. It’s so inoffensive that you can almost overlook its central drawback — that the students don’t have much personality.
  97. Serenity
    It wants to be trashy, pulpy fun that toys with your mind and your expectations. Sadly, it just ends up insulting both.
  98. Shirley Valentine
    Talented actors stumbling through clichéd plot twists (Shirley’s nemeses actually envy her), flat one-liners (”Marriage is like the Middle East — there’s no solution”), and pithy self-affirmations (”I’ve fallen in love with the idea of living”) that undermine any genuine feminist sentiments.
  99. The Devil and Father Amorth
    Whatever the case, you’re better off rewatching the fake Linda Blair movie.
  100. Life Itself
    Excellent performers are wasted, especially the criminally underutilized Mandy Patinkin and Annette Bening, both of whom appear in just bit parts. With far too much confidence but nothing to say, Life Itself lives up to the college-freshman affectedness of its own title.
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