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. The Bourne Legacy
    Renner's Cross is a conflicted hero built to take advantage of the "Hurt Locker" star's best qualities as an actor - his default intensity, the way he conveys that complicated mental calculations are taking place under cover of watchful stillness, even underwater.
  2. Elysium
    I wish that the film had more of the tasty futuristic detail promised by that dummy parole officer. I also wish that Blomkamp took us deeper into the world of Elysium.
  3. Boynton Beach Club
    Gracious, if meandering.
  4. The Machinist
    Bale exists all too large under the circumstances, a well-fed actor playing at emaciation for the sake of a fiction about a character whose torment is as unreadable as his vertebrae are countable.
  5. The Monster Squad
    Fred Dekker’s 1987 horror comedy is, like totally, the ultimate ’80s movie. An agreeably goofy, Little Rascals-meets-The Goonies time passer, the movie is proudly anti-CGI.
  6. Scary Stories to Tell in the Dark
    Blessed with some firm hands on the terror tiller and a winning cast, Scary Stories to Tell in the Dark is a handsome, and deliciously horrible, horror movie.
  7. The Wolverine
    You have to hand it to Marvel for managing to leave audiences breathless in anticipation of a sequel after making them sit through two-plus hours of merely satisfactory storytelling.
  8. Sicario: Day of the Soldado
    Day of the Soldado is our generation’s Rambo: First Blood, Part 2, a half-mad sequel transforming a traumatized political parable into a fantasy of all-American murder gods.
  9. The Karate Kid
    Fun, and believable, on the most important level: It convinces us that Jaden Smith has what it takes to fight his way to the top.
  10. Saltburn
    The film is not for the faint of heart, but it is viscerally compelling and unafraid to luxuriate in its own elegant weirdness. Its endless visual and literary layers will bring its ardent admirers back to it again and again, because it is a triumph of the cinema of excess, in all its orgiastic, unapologetic glory.
  11. An Amazing Couple
    Genre-hoppers like Steven Soderbergh ought to love this neat triple doozy. [Note: From a review of the entire trilogy.]
  12. Cube
    This very Canadian thriller (i.e., no humor, lots of literal-minded future-shock portentousness) certainly does a number on you, though not necessarily a pleasurable one.
    • 61 Metascore
    • 91 Critic Score
    Brain Damage
    Writer-director Frank Henenlotter’s disturbing antidrug parable has more gross-out scenes than it probably needs, but it also has the funniest and most literate dialogue ever to grace a no-budget monster movie.
  14. Mo' Better Blues
    Mo’ Better Blues repeatedly draws back from its characters, exchanging intimacy for shtick and, in the end, lapsing into half-baked psychodrama.
  15. Morlang
    A portentous and goopy Dutch drama.
  16. Kingsman: The Secret Service
    Speaking of young men, newcomer Taron Egerton, playing Harry’s protégé, delivers a star-making performance flush with the kind of charm and unexpected gravitas that no amount of flashy filmmaking can fake.
  17. The Pod Generation
    Ejiofor is eminently relatable as an analog man who can't seem to understand where it all went wrong, and Clarke's eyebrows knit with such pained expressiveness, it's as if they're having their own wriggling monologue throughout the movie.
  18. Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)
    Does the movie’s pop-feminist message need to be as consistently, cartoonishly violent as it is? Almost definitely not. But in a world gone mad, the catharsis of Prey’s twisted sisterhood doesn’t just read as pandemonium for its own sake; it’s actually pretty damn sweet.
  19. Kevin Hart: What Now?
    Hart’s exuberance make him a captivating performer — and his energetic delivery helps even the most mediocre jokes land.
  20. This Boy's Life
    For This Boy's Life to work as ominous domestic drama, it's essential that we see Dwight as a flesh-and-blood monster. De Niro, unfortunately, just seems to be reveling in the chance to play another viciously demented freak, like Cape Fear's Max Cady.
  21. Saturday Night
    It's a wildly entertaining love letter to a night of television that marked a cultural watershed.
  22. Funny People
    The message that comes across is: We're all screwed, and then we die. Ba-DUM.
  23. The Light Between Oceans
    The whole thing is feverishly earnest and more than a little manipulative, but it’s also possibly the prettiest two hours of emotional ­masochism so far this year.
  24. Bad Hair
    You sense Simien’s pushing into uncharted territory. Yet his distinctive gifts as a director are increasingly relegated to the margins, propelling a narrative that works better in theory than execution.
  25. The Portrait of a Lady
    In aiming for a new kind of lit-drama cool, Jane Campion freezes the warmth right out of Henry James' expansive heart.
  26. 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.
    • 60 Metascore
    • 25 Critic Score
    Beyond the Valley of the Dolls
    As bad as Ebert’s screenplay is, Meyer’s direction is just as choppy. The film also looks ugly.
  28. The Emperor's New Clothes
    It's a royal, finely modulated double performance by an actor who always wears his powers with graceful modesty.
  29. Pandaemonium
    Pandaemonium goes a long way toward capturing the compelling delirium of opium among a crowd of freethinking British iconoclasts.
  30. Dragged Across Concrete
    It’s a cliché to say that they don’t make movies like this anymore — nasty, nihilistic, nicotine-stained ‘70s death trips. But thank goodness that Zahler’s doing everything in his power to prove that cliché wrong.
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