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. Alvin and the Chipmunks: The Road Chip
    The Road Chip fails to even cross to the low bar of Slang & Fart movies — though, in its defense, it’s also barely a movie.
  2. Zoolander 2
    Zoolander No. 2 is embarrassing, lazy, and aggressively unfunny. The only good news is that at the pace the franchise is moving, we won’t get Zoolander 3 until 2030.
  3. The Final Girls
    As horror comedies go, this one sadly winds up somewhere between Scary Movie 4 and 5.
  4. Billy Lynn's Long Halftime Walk
    The weirdest and rarest misfire in Lee’s illustrious career.
  5. Gerontophilia
    There are the makings of a poignant Harold and Maude-style drama here, but the movie is so amateurish and eager to be shocking, it just winds up feeling creepy.
  6. Fifty Shades Darker
    Darker is strangely plotless and devoid of any real tension.
  7. Pacific Rim: Uprising
    If you enjoyed 2013’s Pacific Rim but secretly wished it was more like a vapid Transformers sequel, then you’ll love Pacific Rim Uprising. Everyone else can give this heavy-metal howler a hard pass.
  8. The Benefactor
    Gere, an actor capable of great nuance, hams it up so mightily you’d think the film was sponsored by Boar’s Head.
  9. Valerian and the City of a Thousand Planets
    During the film’s intoxicating first 30 minutes, for example, I couldn’t decide whether what I was watching was brilliantly bonkers or total folly. Then, as the story went on, it came into sharper and sharper focus: Valerian is an epic mess.
  10. My Big Fat Greek Wedding 2
    The winking ethnic jokes weren’t all that revolutionary in the first film, and this time around, they feel even more stale.
  11. Underworld: Blood Wars
    While the film may justify its title in terms of the viscera on display, it is badly in need of a funny bone.
  12. Ashby
    Rourke, whose face has become an inexpressive waxwork in recent years, doesn’t do much with what’s already a pretty undercooked role.
    • 29 Metascore
    • 42 Critic Score
    Ratchet & Clank
    The looming notion that Ratchet & Clank’s story and characters already exist (in playable form, to boot) consistently tugs us away from the film at hand and into the nearest GameStop, where we’re free to browse the shelves for a far more satisfying experience.
  14. Kingsman: The Golden Circle
    If the first Kingsman, at its best, felt like a dry martini of a joke, then this one is more Jack and Mountain Dew — unsubtle, unrefreshing, and unnecessary.
  15. The Snowman
    The Snowman is completely bereft of either style or emotion.
    • 41 Metascore
    • 42 Critic Score
    The Perfect Match
    As if to make up for the predictable main plot, The Perfect Match is bogged down with a slew of uninteresting B-stories.
  17. Collateral Beauty
    These actors are too good to be entirely sunk by the sheer silliness of the material (with the exception of Smith, who seems fully committed to playing the role of a human frown-face emoji).
  18. New Jack City
    It’s got some talented actors and a certain jagged inner-city atmosphere, yet this first feature directed by Mario Van Peebles (son of the veteran black director Melvin Van Peebles) is little more than a sketchy exploitation melodrama.
  19. The Predator
    The Predator isn’t a dumb movie exactly. But it’s not a smart one either. What it is, is something uncomfortably in between: a satire of a franchise that was already in on its own macho joke.
  20. Rio, I Love You
    Vincente Amorim weaves each short together with lots of sweeping panoramas of the city, and the end result feels less like a collection of love stories and more like a bland tourism ad.
  21. Special Correspondents
    What Gervais may have previously turned into a pointed satire of the news media instead becomes a flimsy farce that’s surprisingly low on laughs.
  22. A Cure for Wellness
    Narratively preposterous and probably an hour too long, it’s the year’s first big howler. It could have been DeHaan’s "Shutter Island," but instead it’s just Gore Verbinski’s latest self-indulgent mess following "The Lone Ranger."
  23. CHIPS
    While CHIPS sure is goofy, it falls flat compared to other buddy-cop comedies in its genre, relying too heavily on unpleasant sex jokes (often revolving around gay panic) and a nonsensical crime plot.
  24. American Pastoral
    As hard as they work to add nuance, Connelly is trapped in mad-housewife hysteria, Fanning’s a brat, and McGregor never really rises above a strange, stunned blandness. It’s a noble effort, almost completely lost in translation; give it an American pass.
  25. Approaching the Unknown
    The film doesn’t seem particularly interested in grappling with any of those issues beyond the most superficial level.
  26. Insidious: The Last Key
    Aside from one gag in particular, the scares lack any real mechanical knack. The one thing the otherwise forgettable film has going for it is Shaye, who over the course of the Insidious quadrilogy has miraculously created a real flesh-and-blood character with Elise.
  27. London Road
    The result, alas, is totally bolloxed, as a Brit might say, by execution.
  28. Salt and Fire
    In Salt and Fire, a bad movie but an intriguing vacation slideshow, Michael Shannon and Veronica Ferres play “characters” (unconvincing, undimensional) and speak “dialogue” (expository, flat).
  29. My Blind Brother
    Its tired indie trappings (arrested development, dull cynicism) turn the film into its own kind of marathon.
  30. The Eyes of My Mother
    The film has a stunningly hypnotic look thanks to Zach Kuperstein’s crisp black-and-white ­cinematography. It feels like a waking nightmare. It’s just enough to make you wonder how a film that’s so ugly managed to look so damn good.
  31. The Circle
    It’s a movie that desperately wants to be timely and relevant, warning us about the Brave New World threats we all face when it comes to privacy, surveillance, and freedom. But it’s so cartoony and ham-fisted it sabotages its own argument.
  32. Wonder Wheel
    It’s undercooked even by the filmmaker’s own late-career standards. Yes, Coney Island has never looked more gorgeously golden-hued (thanks to cinematographer Vittorio Storaro), but Allen has seldom been less sharp.
  33. Skyscraper
    No one churns out big-budget action mediocrity these days as regularly as Dwayne Johnson. So now, just three months after his giant gorilla-a-go-go Rampage, we have Skyscraper — a film that suggests what would happen if you took The Towering Inferno and Die Hard and stripped them of the qualities that made both work.
  34. Rampage
    It never makes up its mind whether it wants to be a what-hath-science-wrought disaster movie like those old John Sayles cheapie classics Piranha and Alligator, or just a big, dumb, and loud tongue-in-cheek action comedy. It’s a movie that’s afraid to pick a lane.
  35. Village of the Damned
    When the children in Carpenter’s Village flash their glowing eyes, hypnotizing the hapless grown-ups into committing a series of increasingly lurid suicides, the kids don’t seem much more bizarre — or frightening — than your average 10-year-old Nintendo freak.
  36. Tales from the Darkside: The Movie
    Its title aside, this slow, clunky omnibus film feels more like a TV show than a movie. It’s not very scary, and there isn’t much contrast among the episodes.
  37. The Dark Half
    The most frightening thing about this movie is that King and Romero actually thought it was scary.
    • 43 Metascore
    • 42 Reviewed by
      Ty Burr
    Needful Things
    By now, we’ve come to expect certain things in movies adapted from Stephen King novels: brooding misanthropy, a pound or two of viscera, and — perhaps most horrifying of all — Hollywood actors delivering their lines with bad Maine accents. Needful Things delivers on said expectations, no more, no less.
  39. The Only Living Boy in New York
    Despite the silly and sentimental nature of his dialogue, Bridges, in this wondrous emeritus phase of his career, sells every single line. Well, almost every.
    • 46 Metascore
    • 42 Critic Score
    The Mighty Ducks
    The film spends most of its time tracing Bombay’s predictable transformation from supercompetitive to supercompassionate coach, a metamorphosis that will most likely bore young audiences who don’t yet know what a mid-life crisis is, let alone identify with one.
  41. Tyler Perry's Acrimony
    The 20 or so minutes we get of Henson’s rage are not enough to warrant the title or the ticket price.
  42. Soapdish
    Soapdish makes the tackiness of soap operas seem far more desperate than funny.
  43. Gemini Man
    Somehow though, the film registers as a strange, airless whiff — stale, inert, and oddly melancholy. The script rarely rises above the schematics of a thousand thrillers that languish on late-night cable, and the almost willfully cliché dialogue sounds as if it’s been generated by some kind of free-with-purchase screenwriting app.
    • 64 Metascore
    • 42 Critic Score
    Absence of Malice
    Overwrought.
  45. CB4
    CB4 would like to be a savage hip-hop lampoon, but, in fact, the film strikes a cautious balance between satire and homage. It can’t decide whether it wants to ridicule CB4 or hold the group up as role models. What we’re left with is a soggy catalog of rap cliches.
  46. Regarding Henry
    The movie has a few jokes, but it could have used some of the canny, real-world logic that made Rain Man so convincing (and funny).
  47. Guilty by Suspicion
    The scandal of McCarthyism is too daunting to shake off. But Guilty By Suspicion leaves you wishing that someone would finally make a decent movie about it.
  48. Year of the Horse
    Bluntly put, Neil Young’s music now has too much integrity and not enough hooks, and so does Year of the Horse. The rough-grain Super-8 images, while a nifty visual correlative to the Crazy Horse sound, deny us the fundamental pleasure of a concert movie — a sense of intimacy with the band’s performance.
  49. My Fellow Americans
    Enthusiastic as one might be that Jack Lemmon has found a new lease on movie life with his Grumpy Old Men series, the funny-crankpots genre wears mighty thin on this road trip.
  50. The Spy Who Dumped Me
    The new comedy, The Spy Who Dumped Me, is a mirthless, dead-on-arrival dud.
  51. Never Goin' Back
    The two leads have chemistry and a rebellious sort of charisma. Too bad they’re given such wheezy clichés to work with.
  52. The Cook, the Thief, His Wife & Her Lover
    The Cook, The Thief is so full of loathing it just about gags on its own bile.
  53. White Fang
    Despite some splendid snowcapped vistas and one rather frightening grizzly-bear attack, White Fang, a loose adaptation of Jack London’s classic novel is dramatically inert. Nothing in the picture really takes hold — certainly not the relationship between young Jack (Ethan Hawke) and White Fang, who seem like near-strangers even at the final clinch.
  54. Miami Blues
    What really sinks the movie, though, is Alec Baldwin’s strenuously awful performance.
  55. Terminal
    This stylish-but-grating pastiche of far better crime flicks is as soft-boiled as they come.
  56. Tombstone
    If only director George P. Cosmatos (Rambo) knew how to do something with cliches other than throw them into the pot and stir. A preposterously inflated 135 minutes long, Tombstone plays like a three-hour rough cut that’s been trimmed down to a slightly shorter rough cut.
  57. Upgrade
    As a movie, it’s the cinematic equivalent of paint-by-numbers: competent, attractive even, but take a single step closer and the lines peek through. There’s no need to pay money to go see Upgrade: If you select it on a plane and sleep through 60% of it, you’ve seen it in its entirety.
  58. Climax
    Is it possible to be an enfant terrible when you’re 55? Unrepentant French provocateur Gaspar Noé pushes that question (and your buttons) to the breaking point with his latest transgressive import, Climax.
  59. A Perfect World
    The trouble with Eastwood’s attempt to make a thriller with heart is that, in retreating from his darker impulses, he muffles his own voice as a moviemaker.
  60. The Next Karate Kid
    Clearly, three sequels haven’t improved Miyagi’s English, but there is something bitchin’ about seeing a babe give a bully a good thwack. Not that girls will go see this or boys will care.
  61. Jetsons: The Movie
    In an age of Simpson-mania, George, Jane, Judy, and Elroy seem blander than ever.
  62. Little Odessa
    Roth, a great actor, is reduced to a walking sneer, and the picture creeps along in a series of handsome but painfully languorous hazy-shade-of-winter tableaux.
  63. Wes Craven's New Nightmare
    Wes Craven’s New Nightmare lacks the trancelike dread of the original Nightmare, and it features almost none of the ingeniously demented special effects that made the series’ third installment, Dream Warriors, a hallucinatory exercise in MTV horror. This one is just an empty hall of mirrors.
  64. Texas Chainsaw Massacre: The Next Generation
    The movie recapitulates the absurdist tabloid-redneck comedy of the great, original Chainsaw without a hint of its primal terror.
  65. Freddy's Dead: The Final Nightmare
    It’s disappointingly ho-hum, without the spectacular — and often very funny — special effects that have become the hallmark of this series.
  66. Hellraiser III: Hell on Earth
    Mostly about the prospect of getting your skin ripped by fishhooks.
  67. The Kitchen
    There’s so much talent in The Kitchen, and so much of it wasted; that’s kind of all you can think about for most of writer-director Andrea Berloff’s debut.
  68. Men in Black: International
    International is better than Men in Black II and worse than Men in Black III, and they’re all bad, so erase this sentence from your memory.
  69. Polar
    Åkerlund — the Swedish mastermind behind tastemaking music videos for the likes of Beyoncé, Lady Gaga, and Taylor Swift — has jittery, high-gloss style to spare. But the primary-colored nihilism of his storytelling feels amateurish and ultimately exhausting; a gleefully unhinged teenage-boy dream that aims only for hard, shiny surfaces, and stays there.
  70. Nowhere
    A visual and aural overload that ultimately tires rather than conveys a feeling of f—-d up-ness.
  71. Body at Brighton Rock
    It takes a promising premise loaded with white-knuckle, things-go-bump-in-the-night possibilities and proceeds to do surprisingly little with them over the course of its slim 87-minute running time.
  72. Tank Girl
    Petty, though, is the only reason to see this coy and scrappy comic-book adventure-a trash bin of sci-fi detritus.
  73. The Fanatic
    Unfortunately for Travolta (and for us), only one movie can hold the dubious distinction of being the worst. In place of Wiseau-style eccentricity, The Fanatic has contempt for both its characters and audience.
  74. Surviving the Game
    Essentially, the movie is Cliffhanger with one third the firepower. Ice-T, looking like a depressed lion in his thick Rasta braids, remains a charismatic camera subject, though he’s too much the snaggletoothed urban runt to make a convincing action dynamo.
  75. Career Opportunities
    In a sense, John Hughes doesn’t produce movies anymore. He produces entertainment machines, and Career Opportunities has been shamelessly patched together — like Frankenstein’s monster — from bits and pieces of Home Alone and The Breakfast Club.
  76. Color of Night
    A deliriously brain-dead erotic thriller...The patients (played by, among others, Lesley Ann Warren and Brad Dourif) are all nutjob cliches.
  77. The Story of Robin Hood and His Merrie Men
    Mostly just a bland, sanitized rip-off of the 1938 Errol Flynn version, offering little in terms of new contributions to the tale, and not improving substantially on anything that was already there.
    • 34 Metascore
    • 42 Critic Score
    A Kid in King Arthur's Court
    Watered-down versions of once-winning formulas, with recycled charms best suited to snowbound preteens.
  79. Malice
    The only thing that makes this ludicrous botch even borderline watchable is Alec Baldwin’s enjoyably supercilious performance as a leering stud surgeon who thinks nothing of belting back shots of bourbon before going in to perform an operation.
  80. One Eight Seven
    The prospect of a teacher driven to his students’ level of sociopathic vengeance might have packed a ghoulish wallop had the film viewed it as tragic. Reynolds, however, is just grinding out exploitation thrills.
  81. Striptease
    Striptease lets down its own performers right along with the audience. It’s a Christmas tree someone forgot to string with ornaments.
  82. Love Wedding Repeat
    If only hilarity ensued; instead, Wedding manages to feel both overwrought and underbaked, consistently squeezing the natural charm out of its players in order to bang their hapless miscommunications and personality quirks into the ground. It's enough to make it through once; Repeat may be a bridge too far.
    • 44 Metascore
    • 42 Critic Score
    More American Graffiti
    A coming-of-age picture that never arrives.
  84. Unhinged
    It doesn't help that Pistorius' Rachel spends the first 75 of it like a woman who's never seen a horror movie — if there were noises in the basement, she'd run right down to investigate with a plastic spork in her hand — and the final 15 like a ninja assassin who invented them.
  85. The Broken Hearts Gallery
    If the movie had just a little bit of truth, it could speak to people without "relatable" pandering about how adulting is hard and men are jerks! It's easy to parade around an ostentatiously broken heart, but that only means anything if it comes with baring a little bit of soul.
  86. The Secrets We Keep
    For the most part, though, these secrets aren't worth passing along.
  87. The Craft: Legacy
    By the end of Legacy, each of the witches has become less interesting and less distinct. You’ll find yourself asking, where are the weirdos, Lister-Jones? I'm sorry to tell you: They got left in the ‘90s.
  88. Holidate
    As it is, though, the leaden dialogue and awkward pacing ensure that the shallow, unfunny Holidate never takes off.
  89. Johnny Mnemonic
    Offhand, I can’t think of an actor who could use a brain implant more. The trouble isn’t that Reeves talks like a surfer dude; it’s that he tries so hard not to talk like a surfer dude.
    • 46 Metascore
    • 42 Reviewed by
      Ty Burr
    The Thing Called Love
    You sense River Phoenix would rather be elsewhere, and whether he’s responding to the movie or to something larger is not ours to say. But the feeling persists. It’s like watching a premature ghost.
  91. Reminiscence
    Writer-director Lisa Joy (Westworld) seems to be aiming for an Inception-style metaphysical mind-bend, with the sci-fi jolt of Minority Report and a bleak splash of Waterworld. But her intentions get lost in some cloudy marine layer in between, sunk by hammy hard-boiled dialogue and a story that leaves logic at the door.
  92. Just Cause
    For a story with so much going for it — including an interesting cast — Just Cause is just not taut and thrilling enough.
    • 55 Metascore
    • 42 Critic Score
    Playing by Heart
    With relationship patter that sounds like acting-class exercises, almost none of these stories feel true.
  94. Babylon
    Boogie had a dramatic throughline, and something genuinely unsettling to say about the strange soul-bargaining of fame. Chazelle often steers his characters toward tragedy or anguish, without ever quite rooting his inscrutable thesis in anything real.
  95. Switch
    Switch leaves one feeling that Blake Edwards is more than a little confused.
    • 43 Metascore
    • 42 Reviewed by
      Ty Burr
    Hocus Pocus
    It’s acceptable scary-silly kid fodder that adults will find only mildly insulting. Unless they’re Bette Midler fans. In which case it’s depressing as hell.
  97. Killing Zoe
    The idiocy of the plot is the tip-off that writer-director Roger Avary is really just interested in random displays of nihilistic decadence (e.g., heroin-shooting, prostitute-bashing, lotsa blood).
  98. True Colors
    The film, which has an overly complicated script (by Kevin Wade), is like Wall Street minus Gordon Gekko. It takes the fun out of back-room political sleaziness — and out of political integrity, too.
    • 46 Metascore
    • 42 Critic Score
    Home Alone 2: Lost in New York
    Here, the signs of Culkin’s limitations begin to emerge.
  100. Bitter Moon
    Sadly, the movie indicates that Polanski’s erotic narcissism may have consumed not just his life but, by all appearances, his art as well.
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