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 Accountant
    The whole thing’s ludicrous, down to the last loony twist, but it’s also a lot more fun than Batman v Superman.
  2. Our Little Sister
    Despite fine intentions and four lovely performances from the female leads, Our Little Sister is simply too light to be felt. It floats away in the wind—and the memory — like a paper umbrella.
  3. Balls Out
    There’s some chuckleworthy meta-commentary about the absurdity of sports movies, but Balls Out feels more like a long sketch than a feature.
  4. 13 Hours: The Secret Soldiers of Benghazi
    There’s a real story of American heroism somewhere in here, but it’s diluted by Bay’s worst tendencies.
  5. The Boy
    The film’s biggest flaw is that there’s never any doubt about where Ted is going to end up.
  6. Demolition
    Jake Gyllenhaal’s wild-card performance is the only reason to bother with "Dallas Buyers Club" director Jean-Marc Vallée’s manipulative downer.
  7. Metropolitan
    Instead of a full-bodied comic portrait of the coming-out-party set, Metropolitan offers a thin, cartoon version. Then it uses that cartoonishness to make everyone on-screen seem irresistibly cute.
  8. The 5th Wave
    The frankly preposterous nature of the film’s setup is rendered slightly less so by a couple of second act reveals. But, by then, many viewers will have lost interest in a movie with a very high bodycount but a very small amount of grit, either emotional or literal.
  9. High-Rise
    There are certain movies that you really want to like based on their ambition, or their weirdness, or their ambitious weirdness, and ultimately you just can’t. Ben Wheatley’s High-Rise is one of those movies.
  10. The Forest
    Perhaps the biggest problem with The Forest is that it’s ultimately not very scary.
  11. Ant-Man and the Wasp
    Ant-Man and the Wasp is working too hard to look unconvincingly relaxed.
  12. Godzilla vs. Kong
    If you want a great monster movie that's actually also about people — how they think and talk and feel when they're more than just screaming kaiju chum in the water — try 2017's Colossal, currently streaming on Hulu. If not, maybe Godzilla vs. Kong's brawling lizard-brain shock and awe is exactly the void you came for.
  13. Snatched
    As Snatched’s blonde-leading-the-blonde farce careens on, it stumbles into moments of deranged inspiration.
  14. Lamb
    Based on a lauded 2011 novel of the same name, Lamb is about as strange as it sounds: a Lolita story almost more unsettling for the lines it doesn’t explicitly cross.
  15. The Huntsman: Winter's War
    It’s the movie equivalent of a cake that’s all frosting.
  16. Fifty Shades of Black
    The film manages to be surprisingly subversive with its humor.
  17. King Arthur: Legend of the Sword
    King Arthur could have been a rollicking blast. Instead it’s just another wannabe blockbuster with too much flash and not enough soul.
  18. Certain Women
    It isn’t until the wonderful Gladstone comes along with her aching tomboy heartache and sad seeking eyes that the film finally burrows below the surface and finally hits a dramatic nerve. Unfortunately, by then, it’s too little too late.
  19. Swiss Army Man
    A hot, strange mess that never quite comes together the way it should.
  20. Operation Avalanche
    The movie’s premise has trouble sustaining a feature-length running time, getting mired in repetitive jokes and a third-act swing into harder-core suspense that never really connects.
    • tbd Metascore
    • 58 Critic Score
    Ratter
    Ratter definitely delivers an effective paranoia creep-factor towards the end, but first, the audience has to get through about 45 minutes of just watching Ashley Benson cook eggs, shave her legs, and dance in her living room.
  22. Transformers: The Last Knight
    Monster metal, mass destruction, Anthony Hopkins saying “dude.” This is your brain on Michael Bay—a cortex scramble so amped on pyro and noise and brawling cyborgs it can only process what’s happening on screen in onomatopoeia: Clang! Pew-pew! Kablooey!
  23. Hands of Stone
    Falls victim to too many trite boxing-movie clichés and is in way too much of a rush to cover too much narrative ground. It sometimes feels like you’re watching it with a finger on the fast-forward button.
  24. Emelie
    Those scenes do allow star Sarah Bolger to showcase her range as a babysitter gradually transforming from sweet to sinister.
    • 73 Metascore
    • 58 Critic Score
    Queen of Katwe
    Nyong’o’s gravitas is undercut by a script teeming with wooden platitudes, special lessons learned, and the overbaked dialogue of a Joan Crawford melodrama.
  26. Cell
    While it’s nice to see Cusack and costar Samuel L. Jackson downplay rather than go big, Cell has a been-there-done-that quality that winds up feeling a bit disappointing.
  27. Bite
    It seems to exist merely to spoil your appetite.
  28. Little Man Tate
    Little Man Tate keeps introducing characters and narrative lines that seem promising, but it doesn’t sustain them. The movie feels like three Afterschool Specials welded together.
  29. Rough Night
    A raunchy, wildly off-the-rails farce from the team that more or less brought you Broad City.
  30. Kingsglaive: Final Fantasy XV
    Instead of trying to adapt the video game experience into a film format, Kingsglaive transforms the movie-going experience into something familiar to video game fans. It’s essentially a really long cutscene.
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