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. Alan Partridge
    Like so many reunions, this one starts off all smiles and quickly grows tiresome.
  2. Miss Peregrine's Home for Peculiar Children
    The film chooses style over substance, emphasizing how cool the children’s powers are without fleshing them out as full characters. To compete with Burton’s best, his heroic weirdos need a little more heart—and the monsters need sharper teeth.
  3. Fifty Shades of Grey
    I spoil nothing by reporting what readers already know, that when Fifty Shades is not a dirty story, it is, as the trilogy unfolds, a study in cartoonishly weird family dynamics.
  4. The Book Thief
    It would make for a pretty ghastly pageant if not for smart, understated turns by Watson and Geoffrey Rush as the charmingly Teutonic couple who rescue both Liesel and a stranded Jew (Ben Schnezter) — not to mention the movie itself — with honorable matter-of-factness.
  5. SPECTRE
    It’s possible that Skyfall created expectations that were too high for Spectre to match. But with all he’s done for the franchise, Craig deserves to go out with a bigger, smarter bang.
  6. Godzilla
    He doesn't seem too interested in his actors — they're more plodding than their reptilian costars and you don't care about a single one of them — but Edwards does know how to fashion some serious monster mayhem.
  7. Jackass Presents: Bad Grandpa
    At the end, when the grandson, in drag, enters a little-girl beauty contest, the movie far outdoes the crowning moment of "Little Miss Sunshine." But most of Bad Grandpa lacks that delirious mad kick of surprise.
  8. Foxcatcher
    The most haunting thing in Bennett Miller's latest film, Foxcatcher, is Steve Carell. That's right, the same rubber-faced comedian who gave us the dim-witted meteorologist of "Anchorman" and the oblivious corner-office boob of "The Office."
  9. Million Dollar Arm
    It's the latest male weepie cast from the same Disney mold as "The Rookie and "Miracle," and it's essentially "Jerry Maguire Goes to Mumbai."
  10. Get On Up
    Get On Up too often plays it safe when it needs to be dangerous.
  11. The Railway Man
    Colin Firth smolders as the PTSD-riddled veteran (played in flashbacks by War Horse‘s Jeremy Irvine), and Nicole Kidman cries dutifully as his wife — but they’re both derailed by the movie’s tidy emotional resolutions.
  12. Begin Again
    "Once" was a small and well-loved heirloom, its imperfections part of the charm. But Begin Again has been burnished to a shiny dullness.
  13. The Double
    Director Richard Ayoade (Submarine) gets a huge impact from minimal expressionist sets, but the thin story — loosely based on Dostoyevsky’s 1846 novella — plays like a pale reflection of a more exciting tale.
  14. The Unknown Known
    To take the playfully convoluted, semi-nonsensical aggression of Rumsfeld's language and make it the whole point of a movie is to fall into the trap of mistaking the spin for the story.
  15. Maggie
    The sight of Schwarzenegger in this small, subdued role makes us root for his survival. That’s the power of star wattage at work. Not even the undead can kill it.
  16. In the Heart of the Sea
    Howard’s film, for all of its storytelling skill, technical polish, and rousing high-seas sequences, never quite casts the spell it should. It’s too polite to give us a real feeling of life or death. Its sense of danger is watered down.
  17. Tyler Perry's A Madea Christmas
    Madea is still a witty character, but the gutter wisdom of her tossed-off verbal hand grenades can’t shock us anymore; even the outtakes that play through the closing credits feel like reruns.
  18. Horrible Bosses 2
    It's the small, tossed-off moments — Bateman's deadpan mugging, Day's frenzied cluelessness, and Sudeikis' smarmy one-liners — that land the best.
  19. The Quiet Ones
    Aside from a few cheap but effective shocks and jumps, there's nothing here that horror fans haven't seen in better recent films like "The Conjuring." Not to mention all of those wonderful Hammer films from the '50s and '60s.
  20. Maidentrip
    After 519 days at sea, Dekker finally achieves her goal...and decides to keep sailing, only this time with a hunky boy as her mate. If I were her parents, I wouldn't have signed off on that, either.
  21. Live by Night
    Live by Night is clearly Affleck’s love letter to classic pulp, and almost no noir touchstone goes unturned in its two-hour-plus run.
  22. Jersey Boys
    The biggest problem is that the film, written by Marshall Brickman and Rick Elice, never makes a convincing case for why Valli the man or the singer matters beyond the music in the way that "Ray" and "Walk the Line" did for Ray Charles and Johnny Cash.
  23. Cuban Fury
    Frost is a likable bloke with a deft physical grace to match his rat-a-tat one-liners. But all the sequins and silk shirts in the world can’t disguise the film’s too-familiar formula.
  24. Alice Through the Looking Glass
    For better or worse, Looking Glass loses none of the first film’s muchness, with Bobin mimicking both his predecessor’s wildly saturated style and his general disregard for plot and substance.
    • 32 Metascore
    • 67 Critic Score
    Regression
    While Regression does, for the most part, deliver simmering suspense — and with Watson and Thewlis together, it’s fun (and weird) to see a mini-Harry Potter reunion — the script often falls flat, and the film sometimes leans too heavily on the score to telegraph an ominous tone.
  26. The Mummy
    I’m not sure that this aimless, lukewarm take on The Mummy is how the studio dreamed that its Dark Universe would begin. But it’s just good enough to keep you curious about what comes next.
  27. San Andreas
    San Andreas shows that sometimes the fake stuff can get the job done beautifully. I don’t want to make any claims that San Andreas is a great film. It’s not. But as mindless sensory barrages go, its fakery taps into something real: It shows us just how impotent we all are to control our planet. Unless, of course, you happen to be The Rock.
  28. The Sacrament
    West is a talented director and knows how to build suspense. But here’s a case where the truth wasn’t only stranger than his fiction, it was scarier, too.
  29. Nymphomaniac: Volume II
    A notch more watchable than Volume I, if only because Joe, the self-destructive heroine, is now played front and center by the magnetically dyspeptic Charlotte Gainsbourg instead of the vacuous model Stacy Martin.
  30. Step Up: All In
    The space between the spectacles are just too laborious, creating the odd sensation that there's not quite enough dance in this dance movie.
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