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. Rising Sun
    There’s a real spark to Connery’s performance, but except for that Kaufman has produced a middling contradiction, a thriller too polite to hit its target.
  2. The Happytime Murders
    There are a few spiky moments of sick, WTF fun (a bout of rough sex that ends with a Silly String climax; the first time a puppet drops an F-bomb), but mostly it feels like a promising idea poorly executed.
  3. I Feel Pretty
    There’s also something depressing about Schumer playing off her own looks as if, without the abracadabra of her bonked-head delusions, she were some sort of hideous gremlin. Magician, heal thyself.
  4. The Leisure Seeker
    When a sunset romance does come along, you can’t help but root for it. Which is why it gives me no joy to report that The Leisure Seeker is pretty disappointing.
  5. Rebel in the Rye
    You won’t find much new light shed on the reclusive author of The Catcher in the Rye in writer-director Danny Strong’s polished but cliché-festooned biopic Rebel in the Rye.
  6. City Slickers II: The Legend of Curly's Gold
    There have been far shoddier sequels, but City Slickers II remains a good example of why more is sometimes less.
  7. My Girl
    My Girl has some sweet, funny moments (the cast is uniformly appealing), yet it unfolds in a landscape of paralyzing, pop-psych banality.
  8. It: Chapter Two
    The main problem with Chapter Two is that it goes on, and on, for so very long. If brevity is not necessarily the soul of a good scare, it would certainly serve a story that sends in the clowns, and then lets them just stay there — leering and lurking and chewing through scene after scene — until the there’s nothing left to do but laugh, or leave.
  9. The Strangers: Prey at Night
    Two films in, The Strangers has already become a horribly familiar franchise.
  10. After Dark, My Sweet
    After Dark, My Sweet is cool and compelling for about 45 minutes, but it has a clinical, hothouse garishness that grows oppressive.
  11. Pokémon Detective Pikachu
    As the wisecracking voice of Pikachu, Ryan Reynolds deserves some sort of special citation for doing the best he can without Deadpool’s f-bombs (or a decent script) to lean on. But the main problem is that the film’s gumball-mayhem plot is so frenetic that it’s impossible to determine if it makes a lick of sense. Maybe that was the point.
  12. Blue Chips
    The folly of Blue Chips is that the film makes this greased-palm corruption seem an even bigger sin than it is. (It's like a political drama made by someone who is shocked, shocked at the sleaze of campaign financing.)
  13. Mortal Engines
    Despite all of the film’s retro-future eye candy, it never quite sweeps you out of your seat and transports you someplace new. It’s a squeaky salvage job that could have used a fresh dose of oil to make it hum.
  14. Overboard
    Overboard lists and wanders through the shoals of secondhand comedy and eventually, just drifts away.
  15. The Catcher Was a Spy
    Sadly, it isn’t a great movie. It’s a disappointingly mild period thriller that’s light on thrills. Even Paul Rudd, one of the most likable actors in Hollywood, can’t rescue it.
  16. Six Degrees of Separation
    By the end, most moviegoers are liable to see it as much ado about nothing.
  17. The Legacy of a Whitetail Deer Hunter
    After about 10 minutes, The Legacy of a Whitetail Deer Hunter feels borderline promising. After 80, it feels like a blown opportunity.
  18. Valley Girl
    As it stands, the movie is just as slick as the lifestyle it supposedly mocks.
  19. Red Notice
    For all the outsize fight scenes and casual profanity though, the whole thing is oddly bloodless. (Even a rampaging bull hardly leaves a bruise.) And so Red Notice goes: blithely skimming through its slapstick fantasy, and laying bejeweled eggs wherever it lands.
  20. Death Becomes Her
    The trouble with Death Becomes Her isn’t that its comic vision is too dark but that it has no shadings, no acerbic glee. Zemeckis gives nastiness such a hard sell he forgets to take any delight in it.
  21. SuperFly
    Neither as satisfying as the remake of "Shaft" nor as objectionable as the remake of "Death Wish," the second coming of Superfly wants to tap into that same ’70s grindhouse allure and put a similarly slick modern gloss on it. The results are pretty mixed.
  22. Krystal
    Krystal feels like the result of an elaborate blunder wherein three different scripts were accidentally shuffled together and then — presumably through a series of hijinks — the director accidentally shot it all straight through.
  23. Goosebumps 2: Haunted Halloween
    The real magic of the movie comes in its echoes of the first — namely, Black’s performance as the Goosebumps mastermind.
  24. Kodachrome
    Kodachrome isn’t a bad movie, it just never for a moment feels like a real one: A road-trip dramedy so schematic and loaded for emotional bear it feels like it was generated by a Sundance screenwriting app.
  25. Sleeping with the Enemy
    As an actress, Roberts has more than a great smile. She’s alive on screen — you can practically feel her pulse. But someone should have realized that audiences would be on her side even if every single moment of a movie weren’t calculated to put them there.
  26. Star Maps
    An ambitious debut feature.
  27. Kids
    If Kids is simultaneously engrossing and detached, observant and just plain showy, that may be because the film is so caught up in trying to be a statement that it never develops its characters beyond their rowdy, bellicose facades.
  28. Executive Decision
    Such a bluntly impersonal thriller that the title might almost be describing the production honcho who greenlighted yet another Die Hard clone.
  29. Destination Wedding
    The script, by writer-director Victor Levin (Survivor’s Remorse, Mad About You) comes on like a rom-com David Mamet freight train; its verbal turns are so wildly overwritten that all the actors can really do is hold on to the wheel well, racing through reams of ratatat dialogue. But Ryder and Reeves surrender to it gamely, and sprinkle a sort of movie-star pixie dust over the too-muchness of the text.
  30. Doctor Sleep
    Doctor Sleep is a mess. It’s way too long, clashing somber sobriety with loony cheap thrills. The Shining homages turn shameless and cheap. The jumpscares are more funny than scary.
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