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 2.2 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. Deadpool 2
    It’s in Deadpool’s DNA to channel the wild id of a 12-year-old boy — a very clever one who happens to love boobs, Enya, and blowing stuff up. Which is dizzy fun for a while, like eating Twinkies on a Gravitron. Eventually, though, it just wears you out.
  2. Beast
    Pearce takes his time laying out his sleeping-with-the-enemy tale, but his stinginess with plot lends the film an vice-tightening air of mystery that suits it.
  3. The Seagull
    The Seagull is lush and dreamlike, leaving the drawing room for lake, field, and forest. Though we lose some of Chekhov’s claustrophobic talkiness, the dense poetry of his language, Mayer fully captures Chekhov’s sharp humor.
  4. 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.
  5. Terminal
    This stylish-but-grating pastiche of far better crime flicks is as soft-boiled as they come.
  6. Cargo
    The Australian setting brings a fresh, and epic, quality to this now done-to-death genre, and the directors introduce a few nice new kinks to the zombie mythology, notably a desire on the part of the undead to literally — and hauntingly — bury their heads in the sand. But the real treat is Freeman.
  7. The Escape
    Its title sounds like the premise for some kind of high-adrenaline adventure about maze-running or outgunning a nuclear apocalypse. But The Escape is both less thrilling and much scarier, in its own way — a quiet domestic-drama chamber piece with a vein of pure desperation thrumming beneath it.
  8. Life of the Party
    A charming and generally painless way to spend two hours. It’s not nearly as sharp as some of the best stuff she’s done, but it’s pointedly kinder too, wrapping even its nastiest characters.
  9. One October
    It’s Pigeon’s sincere approach here and throughout the documentary that holds the audience’s attention.
  10. 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.
  11. 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.
  12. Overboard
    Overboard lists and wanders through the shoals of secondhand comedy and eventually, just drifts away.
  13. RBG
    RBG is an unapologetic valentine to Supreme Court Justice Ruth Bader Ginsburg, but a sharp and spiky one too.
  14. Zoe
    An unimaginative waste of science-fiction potential.
  15. 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.
  16. Disobedience
    If the film itself feels like a little less than the sum of its provocative premise, it’s still moving in its own unshowy way: a quietly profound exploration of identity, sacrifice, and the connection all human beings long for, whether or not their God or their family or their community approves.
  17. 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.
  18. 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.
  19. 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.
  20. Ghost Stories
    Pretty light on scares and only hangs together with the thinnest (and hokiest) of narrative threads.
  21. Zama
    The film makes a compelling portrait of how job assignments can eventually become jail sentences, and how years can drift into each other with little care for unfulfilled dreams. As it goes, Zama ponders the unanswerable question of what kind of life, exactly, is worth living.
  22. Tully
    Tully feels like the work of a writer who’s matured and lived and become less superficial without giving up any of her natural gift for finding humor in the absurd.
  23. Pass Over
    The dialogue mixes Sunday school and the streets, and it’s funny, profane, and occasionally poignant when it’s not a bit too on the nose.
  24. The Devil and Father Amorth
    Whatever the case, you’re better off rewatching the fake Linda Blair movie.
  25. Kodachrome
    Kodachrome isn’t a bad movie, it just never for a moment feels like a real one: A road-trip dramedy so schematic and loaded for emotional bear it feels like it was generated by a Sundance screenwriting app.
  26. 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.
  27. Krystal
    Krystal feels like the result of an elaborate blunder wherein three different scripts were accidentally shuffled together and then — presumably through a series of hijinks — the director accidentally shot it all straight through.
  28. Lean on Pete
    Pete is no kind of fairytale; instead, it’s something far sadder and better and more real.
  29. The Broken Tower
    It’s a pensive and heartfelt movie, assuming that you let yourself get caught up in its moody-minimalist, more-visual-than-verbal style.
  30. Borg vs. McEnroe
    Of the film’s two stars, it’s LaBeouf who seems especially well cast here. Until now, the actor has never seemed to measure up to the potential that he promised early on in his career. But there’s something about playing McEnroe that brings out the sort of unpredictable subtlety he’s always been capable of.
  31. Wildling
    A clever, sharp-fanged mélange of classic midnight-movie horror and modern indie ingenuity.
  32. Come Sunday
    Ejiofor’s performance make the movie; the rest, you may just have to take on faith.
  33. 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.
  34. Blumhouse's Truth or Dare
    Hale and Posey are likable leads and director Jeff Wadlow (Kick-Ass 2) injects proceedings with a propulsiveness which allows you to mostly ignore the odd plot strand which doesn’t really pay off or the general air of preposterousness.
  35. Beirut
    The performances are strong and the story is absorbing; a smart diversion for adult attention spans.
  36. Chappaquiddick
    What the movie doesn’t do, until it’s nearly over, is make any real case for why so much of America continued to put their faith in Kennedy long after the facts of the case were revealed.
  37. Blockers
    Sure, showing that girls can be as horny and impulsive and raunchy as guys isn’t exactly the most radical statement. But when it’s done this well, it certainly is a welcome change-up.
  38. The Endless
    Benson and Moorhead masterfully ratchet up the sense of unease, before the third act takes a turn for the truly terrifying.
  39. 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.
  40. A Quiet Place
    When A Quiet Place has one finger on the panic button and the other on mute, it’s a nervy, terrifying thrill.
  41. Outside In
    Shelton may not be as prolific as the Duplasses (I’m not sure anyone could be – they seem to churn out movies in their sleep), but her work has steadily gotten more assured and quietly powerful. Her continued partnership with the brothers is a tonic for anyone who cares about keeping the Sundance-of-the-‘90s spirit alive.
  42. 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.
  43. Ready Player One
    Never mind the director’s still-prodigious work ethic, the big-screen adaptation of Ernest Cline’s giddily overstuffed, ’80s-saturated best-seller is, in a way, a movie that couldn’t be more bespoke to Spielberg. After all, so many of that decade’s most indelible touchstones poured directly from his brain. It’s the perfect marriage of fabulist and fable.
  44. Gemini
    All style and mood, signifying not much.
  45. Final Portrait
    With its de-saturated grays and layered textures, Final Portrait itself is like a still portrait of Giacometti. You, as the viewer, are lucky just to get to spend time with these men during twenty or so days in their lives, privileged to be allowed inside Giacometti’s studio, watching the painting come together.
  46. 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.
  47. Isle of Dogs
    The movie’s darker allegory of persecution and internment isn’t hard to miss, though, and the dogs themselves, with their tactile tufts of fur and Buster Keaton eyes, have an endearing, complicated humanity.
  48. 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.
  49. 7 Days in Entebbe
    The film comes to crackling life during the planning and climactic execution of the raid. And Padilha, the Brazilian director behind 2007’s "Elite Squad," knows how to stage these white-knuckle sequences, especially when he cuts back and forth between the on-the-ground tactical assault and a modern dance performance featuring one of the commando’s girlfriends.
  50. Love, Simon
    There’s some real, weird fun in secondary characters like Tony Hale’s desperate-to-be-down principal, Natasha Rothwell’s exasperated drama teacher, and Logan Miller’s Martin, a theater kid so eager to please he practically turns himself inside out.
  51. Tomb Raider
    Uthaug also manages to work in a few genuinely cool visual tricks, though the dialogue, from a serviceable script by Geneva Robertson-Dworet and Alastair Siddons is strictly standard; a mix of clunky action-movie exposition and winking Indiana Jones-style humor.
  52. 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.
  53. The Strangers: Prey at Night
    Two films in, The Strangers has already become a horribly familiar franchise.
  54. The Death of Stalin
    Despite the rich settings and crowded cast, the film can’t help feeling a little airless too: These players aren’t history’s masterminds, they’re wasps trapped in a jar, bumbling against the glass in sting-or-be-stung chaos.
  55. Thoroughbreds
    What begins as a gleefully nasty piece of work gradually picks up more nuance as it goes, adding dimensions to characters who could easily have coasted on the story’s arched-eyebrow burlesque.
  56. 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.
  57. 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.
  58. 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.
  59. 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.
  60. Annihilation
    It’s the kind of film that leaves you dazzled and a little shell-shocked — and not entirely sure whether your own moviegoing DNA hasn’t been altered a little in the process.
  61. Game Night
    McAdams, whose comedic skills have gone unsung for way too long, is dizzy fun. The whole movie is, actually, even if it pretty much evaporates on impact — a kooky, vicarious loop of Mad Libs meets Cards Against Humanity, where whoever’s holding the popcorn last wins.
  62. Red Sparrow
    Like some nefarious KGB amnesia serum, Red Sparrow mostly evaporates from your memory five minutes after you walk out of the theater.
  63. Early Man
    What comedy there is comes from Tom Hiddleston’s Lord Nooth — a miser with a head like a soft-boiled egg. But the laughs are mild at best. At least there’s director Nick Park’s playful Silly Putty visual imagination to take your mind off just how thin the story is.
  64. The Party
    It’s basically a Murderer’s Row of indie pros who play off one another like they’ve been performing this particular toxic soiree on a West End stage for years.
  65. Loveless
    The title of Loveless is no misnomer: It might just be the feel-bad movie of the year. A new word should be invented for the particular kind of poetic, politically-charged bleakness acclaimed filmmaker Andrey Zvyagintsev (Leviathan, The Return) brings to the screen, some Cyrillic-alphabet cousin to the Germans with their weltschmerz and schadenfreude.
  66. Double Lover
    The kind of deliriously trashy psychosexual thriller that only the French seem to be able to pull off with a straight face. It’s like "Dead Ringers" meets "Body Double" with a kinky, winking full-frontal Gallic twist.
  67. The 15:17 to Paris
    Eastwood seems to be reaching for some level of realism, but when every single interaction feels like half-coded AI tried to recreate bro talk, it’s clear that a mistake has been made.
  68. Fifty Shades Freed
    Strip the pleasure away from a guilty pleasure and what are you left with exactly? Fifty Shades Freed, the third and final cinematic installment in E.L. James’ trashy S&M trilogy, answers that question with every ludicrous plot twist, stilted line delivery, and too-laughable-to-be-hot sex scene.
  69. Black Panther
    [Coogler] infuses nearly every frame with soul and style, and makes the radical case that a comic-book movie can actually have something meaningful — beyond boom or kapow or America — to say. In that context, Panther’s nuanced celebration of pride and identity and personal responsibility doesn’t just feel like a fresh direction for the genre, it’s the movie’s own true superpower.
  70. A Fantastic Woman
    It’s heartbreaking, illuminating, and yes, fantastic, just to watch her (Marina) live.
  71. Maze Runner: The Death Cure
    There’s a pleasing sort of B-movie-on-an-A+-budget simplicity to Death Cure.
  72. 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.
  73. 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.
  74. 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.
  75. The Insult
    An ethically thorny morality play that thoughtfully transcends borders, cultures, and religious beliefs.
  76. Paddington 2
    A delightfully heartwarming tale about everyone’s favorite marmalade-loving bear.
  77. Humor Me
    Clement channels his wry hangdog humor into a slightly more grounded performance than he often gives. His charm and absurdist tendencies help elevate Nate from a potentially self-centered man-child to a lost soul who is genuinely compelling.
  78. 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.
  79. In the Fade
    In the Fade is a flawed filmgoing experience, but still a viscerally affecting one.
  80. Molly's Game
    Molly’s Game is a cool, crackling, confident film that appeals to your intelligence instead of insulting it. At the movies, it may be the closest we’ll get to a Christmas miracle.
  81. Film Stars Don't Die in Liverpool
    It’s a minor-key tale by any measure: a May-December romance played out in the fading shadow of Old Hollywood glamour. But it also has the benefit of a thoughtful script, sensitive direction, and leads gifted enough to breathe fresh air into nearly every moment.
  82. Bright
    Ayer and Landis’s world is so dull and ill-conceived that few will want to spend any additional time there. It’s a world of magic that lacks any of its own.
  83. All the Money in the World
    A smart, eminently watchable thriller, taut and stylish, and Plummer is remarkably good in it.
  84. Hostiles
    Westerns can be a tough nut to crack, but Hostiles may be the finest example of the genre since "Unforgiven."
  85. Downsizing
    The result is a dadaist swirl of satire, pie-eyed whimsy, and speculative futurism — like "Gulliver’s Travels" through the wrong end of a telescope.
  86. 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.
  87. Pitch Perfect 3
    Mostly this is all just pretext for dreamy postcard shots of Europe, a metric ton of slapstick, and as many highly specific vocal riff-offs as one empty airplane hangar can handle.
  88. 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.
  89. Star Wars: Episode VIII - The Last Jedi
    The film simply drags too much in the middle. Somewhere in the film’s 152-minute running time is an amazing 90-minute movie.
  90. 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.
  91. I, Tonya
    The skating scenes, too, are thrilling, but Robbie is the real revelation. In a performance that goes far beyond bad perms and tabloid punchlines, she’s a powerhouse: a scrappy, defiant subversion of the American dream. You won’t just find yourself rooting for this crazy kid; you might even fall a little bit in love.
  92. Phantom Thread
    Like all of Anderson’s films (the best of which remain Boogie Nights and Magnolia), Phantom Thread is meticulously crafted, visually sumptuous, impeccably acted, and very, very directorly. But until the final act, this straight-jacketed character study is also pretty tame stuff — emotionally remote, a bit too studied, and far easier to admire than surrender to and swoon over.
  93. The Post
    If you look at The Post next to something like All the President’s Men, you see the difference between having a story passively explained to you and actively helping to untangle it. That’s a small quibble with an urgent and impeccably acted film. But it’s also the difference between a very good movie and a great one.
  94. The Shape of Water
    It's both weird and wonderful.
  95. The Disaster Artist
    It feels only appropriate that James Franco, an actor and director for whom weirdness is next to godliness, would be the one to tell his story.
  96. 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.
  97. 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.
  98. Darkest Hour
    I don’t think we’ll ever see anyone else do Churchill this well again unless the man himself comes back from the dead.
  99. Call Me by Your Name
    It’s real life, heartbreaking and sublime.
  100. Coco
    The vividness of the narrative never quite matches the riotous swirl of color and culture on screen — and neither do the songs, sadly, for how central they are to the story. Instead, Coco settles into something gentler but still irrefutably sweet: a movie that plays safe with the status quo, even as it breaks with it.
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