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. American Sniper
    Clint Eastwood's American Sniper is a film that evokes complicated emotions. A month after seeing it, you might still be wrestling with whether it's powerful, profound, or propaganda.
  2. Teenage Mutant Ninja Turtles: Out of the Shadows
    So while Out of the Shadows may not be any smarter than the first installment (or really all that smart at all), it’s certainly a lot more fun.
  3. Rock the Kasbah
    Your enjoyment of all this will probably depend heavily on your willingness to let the words romp and Taliban coexist for approximately two hours. The movie itself is slight and sometimes outright offensive, though it’s also intermittently amusing and not entirely unself-aware.
  4. The Keeping Room
    A pretty average siege thriller. I’m positive there’s an audience for an Old West tale about fierce, independent women. I’m equally positive it can be done better.
  5. Beloved Sisters
    It only makes you wish for the unintellectual bodice ripper that the movie should have been.
  6. The Disappointments Room
    There simply aren’t enough scares to build tension throughout.
  7. Hitman: Agent 47
    In this post-"Mad Max: Fury Road" action movie age, “occasionally bonkers” just doesn’t cut it anymore.
  8. Jem and the Holograms
    As silly and sometimes nonsensical as it is, the movie is surprisingly sweet and well-intentioned.
  9. Justice League
    First, the good news. Justice League is better than its joylessly somber dress rehearsal, Batman v Superman: Dawn of Justice. Now the “but”…you knew there was a “but” coming, right? But it also marks a pretty steep comedown from the giddy highs of Wonder Woman.
  10. The Flash
    Rather than the beginning of a cool, new idea, The Flash now feels like it should be the last word on movie multiverses.
  11. The Finest Hours
    An intermittently affecting, sanded-edge adventure that feels as if it trundled off the studio production line back when Eisenhower was in office.
  12. Predestination
    Predestination's pace is too slack, and the brothers are so painfully tentative as storytellers that the easily guessed big twist gets three separate reveals.
  13. Southpaw
    Gyllenhaal’s Southpaw performance is great, but for reasons unrelated to his physique. He’s thrilling to watch and the only unpredictable thing in a two-hours-plus movie where you can count on one hand the number of moments that aren’t hand-me-downs from better boxing films like "Rocky," "Raging Bull," and "Fat City."
  14. The Great Wall
    The Great Wall looks like it could be a really amazing video game. Alas, it’s a movie, and kind of a brick.
  15. Star Trek Beyond
    Beyond is more fun than deep. It’s lightweight, zero-gravity Trek that is, for the most part, devoid of the sort of Big Ideas and knotty existential questions that creator Gene Roddenberry specialized in.
  16. The Boss
    A few moments are fantastically bonkers, but granting director duties to McCarthy’s husband, Ben Falcone, feels more like an act of love than wisdom.
  17. Loitering with Intent
    A snappy start gives way to an unfocused second half, which devolves into a walking tour of indie-film clichés that make the 80-minute run time feel overlong.
  18. Ghostbusters
    With a cast as daring and quick as this one, Ghostbusters is too mild and plays it too safe.
  19. Rings
    As a threequel, Rings suffers a bit from franchise fatigue. It tries to fix that by giving viewers an even deeper look at the mythology of Samara and the videotape, with mixed results.
  20. Z for Zachariah
    The lack of drama and heat keeps Z for Zachariah joyless without much despair. It’s the end of the world as we know it, and you’ll feel bored.
  21. Cop Car
    Cop Car feels like a great short stretched into a mediocre feature.
  22. Digging for Fire
    What starts off as a promising indie about a couple (Jake Johnson and Rosemarie DeWitt) trying to balance their own needs versus their partner’s quickly goes south in director Joe Swanberg’s latest meditation on aging-hipster malaise.
  23. Neighbors 2: Sorority Rising
    You’ll probably laugh hard more than once; Sorority Rising is still rich in bikinis and bong rips and boner jokes. It just doesn’t have much heart.
  24. The Forger
    The art-heist plot is pretty by-the-numbers, but Travolta nearly saves it with his doomed air of paternal helplessness. He makes you feel the weight of being at the mercy of forces bigger than oneself. At 61, he still possesses something rare, even in rote material like this.
    • 52 Metascore
    • 58 Critic Score
    Central Intelligence
    While not necessarily a diamond-in-the-rough itself, Central Intelligence proves that Johnson has always been at the center of his own ring, in more ways than one. It just took the rest of us (and Hollywood) a little longer to notice.
  26. Burnt
    Just when you think you know where Burnt is headed, there’s an underhanded twist about halfway in. And it’s almost enough to set the movie right.
  27. 10,000 km
    It’s a decent critique of romance in the digital age—until you realize how boring it is to watch people break up on Facebook.
  28. Irrational Man
    Allen isn’t completely on autopilot here. There are a couple of sharp, sting-in-the-tail twists near the end, and Phoenix is at least interesting. But Irrational Man would be lesser Woody even if we hadn’t seen most of it before.
  29. Love
    The big draw should be 3-D, which enhances the visual intimacy, though only in shooting a male orgasm does Noé go gonzo with the format.
  30. By the Sea
    Jolie Pitt, who also wrote and directed, shows a lot of skin (her own and her cast’s) without ever really getting under it. Misery doesn’t just love good-looking company; it needs an emotional center and a satisfying narrative arc, too.
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