Entertainment Weekly's Scores

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For 7,798 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 7798
  2. Mixed: 2,080 out of 7798
  3. Negative: 760 out of 7798
7798 movie reviews
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  1. Iris
    Although the film does hint at Apfel’s creeping sense of mortality as she donates her clothes for posterity, it never gets deep enough under her skin.
  2. Suffragette
    It’s a shame that, despite some excellent performances, this urgent, well-intentioned film feels so conventional and stolid.
  3. Eddie the Eagle
    The movie version of his life, fittingly, is a massive vat of hot cocoa with a mountain of whipped cream on top — sweet and warm and made with a ­mission to satisfy everyone who takes a sip.
  4. Félix And Meira
    Quebecois director Maxime Giroux mistakes long, wordless scenes of characters gazing at each other for tenderness, but he imaginatively uses gospel music as the forbidden food of love.
  5. The Magnificent Seven
    This Seven’s just silly, solid entertainment: multiplex fun by numbers.
  6. Pride and Prejudice and Zombies
    The result should appeal to Austen aficionados and horror hounds alike—which is not a sentence you get to write too often.
  7. Steve Jobs: Man in the Machine
    What the movie actually could’ve used less of is Gibney, whose faux-pensive voice-overs are meant to push the story forward, but more often make your eyeballs roll backward.
  8. Kahlil Gibran's The Prophet
    Gibran’s little life lessons have been turned into three-minute haiku by different animators and spread across the film. Each one soars (especially clay painter Joan Gratz’s color-bursting snippet, “On Work”), even if the plot holding them together is frustratingly Disneyish.
  9. All Things Must Pass
    In this passionately nostalgic documentary, actor-turned-director Colin Hanks brings that era back to life, tracing the rise and fall of Russ Solomon’s retail music chain, which first opened its doors in Sacramento in 1960.
  10. Maze Runner: The Death Cure
    There’s a pleasing sort of B-movie-on-an-A+-budget simplicity to Death Cure.
  11. Storks
    There’s a delightfully madcap pace to Storks, and most of the rapid-fire jokes land.
  12. American Ultra
    Check your brain at the popcorn-butter pump in the lobby and enjoy it.
  13. The 33
    An inspired fantasy sequence midway through hints at the more intriguing movie The 33 might have been; instead, its tragedy-to-triumph narrative aims mostly for width, not depth.
  14. The Fate of the Furious
    The movie Tokyo-drifts into tedium in its more chaotic, casually gruesome chase scenes, and the “serious” dialogue is so consistently clunky it feels like it’s been carved from woodblocks with a dull butterknife. Thankfully, it’s frequently also much funnier and lighter on its feet than previous outings, and a lot of that credit goes to Statham and Johnson.
  15. Legend
    The film’s saving grace is Hardy, who is as ferocious and watchable as ever, acting smooth and brooding as Reggie and unhinged as Ronnie.
  16. Barbershop: The Next Cut
    Even when it falls short of its aim to get every last Beyoncé joke and Big Idea onscreen, the movie still offers what any barbershop worth its repeat customers provides: An hour or two of good company, and the feeling that you’re leaving a little sharper than when you came in.
  17. Bone Tomahawk
    I doubt there’s a huge audience for a movie like Bone Tomahawk, but those who find it may turn it into a new cult classic.
  18. Louder Than Bombs
    While Byrne is solid (as always) and Eisenberg is restrained (a relief after his manic Lex Luthor), it’s newcomer Druid whose scenes pack the most power and force.
  19. A Tale of Love and Darkness
    Portman’s evocation of this world has a strange, captivating pull. Assisted by the great Polish cinematographer Slawomir Idziak (Gattaca, Black Hawk Down, The Double Life of Veronique), she has created a visual landscape filled with nightmares.
  20. Popstar: Never Stop Never Stopping
    If it’s not exactly unforgettable, it’s still pretty fun.
  21. The Club
    The result is expectedly harrowing and heartbreaking, making for a difficult watch that will reward those with saintly patience.
  22. Tumbledown
    Tumbledown is a sweetly poignant look at what it means to move on.
  23. Solo: A Star Wars Story
    Speaking of Glover, it’s no spoiler to say that the Atlanta star is easily the best thing in this good-not-great movie.
  24. Two Step
    Writer-director Alex R. Johnson’s feature debut uses Southern Gothic simmer to heat up what is otherwise a typical gun-and-bag-of-money crime tale, though Hébert’s terrifyingly electric performance keeps the heat turned up enough to make the bloody climax feel like relief.
  25. Goon: Last of the Enforcers
    The film’s real treat is its deep acting bench with franchise veterans Scott, Pill, Liev Schreiber, Kim Coates, and Marc-André Grondin joined by Elisha Cuthbert, TJ Miller, and, of course, Russell, a real-life former hockey pro whose troubled villain is worthy of a redemptive spin-off film.
  26. Money Monster
    As a solid B-movie elevated by A-list talent and pushed along by a brisk running time — it’s only 98 minutes—Money has its own rewards.
  27. 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.
  28. Race
    Credit Race for showcasing its hero’s human flaws, but the movie unfortunately lets him get away with them a little too easily (his grand makeup gesture to Ruth comes off more creepy than romantic).
  29. The Family Fang
    Based on the best-selling 2011 novel, Fang is directed by Bateman with a sensitivity that the story’s sour whimsy doesn’t quite deserve.
  30. Maggie's Plan
    Sometimes that tips too far into silliness (the final scene, especially, works strenuously towards an end-cute); still, its mildly subversive rom-com sensibilities are just sour-sweet enough to pull it off.
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