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. Little White Lies
    The trouble with Guillaume Canet's French gloss on "The Big Chill" is that it has no underlying chill.
  2. Rust and Bone
    Cotillard, with stringy long hair and a coal fire of severity in her eyes, has what it takes to play a woman who feels that she's lost everything. But she's forced to flail and mood-swing from scene to scene. In an insult to the disabled, there is never much to her but her hellacious injury.
  3. No Good Deed
    There's an intriguing premise buried in there that could have resulted in a smart look inside the mind of a malignant narcissist (which, the movie reminds us over and over again, was Jeffrey Dahmer's diagnosis too).
  4. The Place Beyond the Pines
    It's a slow-burner that burns so slowly its wick completely fizzles out.
  5. The Comedy
    The Comedy pretends to be a satire of entitlement, but it's made in a style so indulgent that the whole film feels entitled in the extreme.
  6. Olympus Has Fallen
    The countdown-to-Armageddon structure generates almost no tension, but Olympus Has Fallen does have lots of squalidly bloody hand-to-hand action, all of which is so pulpy and standardthat the film actually makes you grateful for the presence of Gerard Butler, gnashing his teeth in the Bruce Willis role.
  7. Delivery Man
    The only saving grace is Chris Pratt as Vaughn's deadpan best friend.
  8. Save the Date
    Everyone in the cast (including Geoffrey Arend, Mark Webber, and Caplan's Party Down colleague Martin Starr) is talented enough to deserve a stronger story line than this.
  9. A Glimpse Inside the Mind of Charles Swan III
    No less sweet for being unoriginal: A guy (Charlie Sheen) mourns a bad breakup with the woman he loves (Katheryn Winnick). The execution, on the other hand, is perilously self-absorbed.
  10. Transcendence
    Watching it all unfold and slowly go off the rails, you can't help but wonder what Pfister's mentor, Nolan, might have done with the same material. My guess is he would have sent the script back for a Page One rewrite for starters.
  11. What Maisie Knew
    In this bleak indie bummer that confuses hopelessness with depth, they're really nothing more than selfish, one-dimensional monsters. Maisie's better off without them.
  12. Black Nativity
    While Hudson's and costar Mary J. Blige's soulful, stirring musical numbers are absolute dynamite, the rest of the film's story is larded with enough soap opera twists and heavy-handed schmaltz that you'll feel like you're being bludgeoned with a hymnal.
    • 40 Metascore
    • 50 Critic Score
    Salinger
    At two hours and nine minutes, Salinger is at least 40 minutes too long, suffering, just like the book, from its creators' obsessive zeal. Only here, you can't page ahead to the next chapter.
  14. Passion
    Passion turns into vintage De Palma — which is to say, the film seems almost engineered to get you giggling at the extravagance of its absurdity. Any enthusiasm in the viewer is bound to be a shadow of the film's passion for itself.
  15. Lovelace
    Seyfried works hard for your empathy, with the same naïveté that helped secure Boreman's rep as the ''sexy Raggedy Ann.'' And Sarsgaard is perfect for this role, oozing '70s sleaze in all its mustache-smoothing glory. But even they can't add depth to this sad story.
  16. Dracula Untold
    It works neither as a sweeping historical epic nor as an action-horror hybrid.
  17. Heaven Is for Real
    Heaven is for Real has lots of sweet, Rockwellian imagery of small-town life and family high jinks. What it doesn't have is dramatic tension.
  18. Labor Day
    With his latest film, the mawkish and melodramatic Labor Day, Reitman has done an unexpected about-face: He's ditched Wilder for Douglas Sirk. And the swap doesn't do him — or his fans — any favors.
  19. The Congress
    Ari Folman's meta-commentary on Hollywood in the soulless digital age starts off promisingly, like a Charlie Kaufman mind scrambler. But then it spirals into logy animated nonsense.
  20. The Theory of Flight
    [A] gimmicky actors' holiday.
  21. Stargate
    The film has flashes of psychedelic visual energy, but its story is limp.
  22. Thanks for Sharing
    This tone-deaf misfire can't decide whether it wants to be a broad comedy doling out raunchy slapstick laughs or a serious drama about our porn-saturated age of sensory overload.
    • 71 Metascore
    • 50 Critic Score
    Seconds
    The technical dazzle can’t make up for the boring, unsympathetic characters. With no one to root for, this arty, humorless film ends up pretentiously empty.
  24. Vampire Academy
    If you're not at the bull's-eye center of the target audience, a movie like this one can suck the life out of you.
  25. Winter's Tale
    It's no coincidence that Winter's Tale is being released on Valentine's Day, when our resistance to schmaltz is at its weakest. But do that special someone in your life a favor and splurge on some flowers and a nice heart-shaped Russell Stover box instead.
  26. Chappie
    When we’re first introduced, he’s an overwhelmed infant, and by the time the credits roll, he’s John McClane. Is that an accurate representation of how artificial intelligence can evolve? Absolutely. Does it make for compelling drama? Not particularly.
  27. The Green Inferno
    The Green Inferno is less a riff on spaghetti splatter flicks like Cannibal Holocaust than a desperate-to-shock pastiche of guts and gore served with a wink to audiences with strong stomachs. You know who you are.
  28. Fantastic Four
    In short, this Josh Trank-directed reboot had a very low hurdle to overcome to become the best FF movie so far. The most fantastical aspect of the movie is that it may not achieve that goal.
  29. Jane Got a Gun
    Since the film’s last-minute rewrites, casting switcheroos, and musical chairs behind the camera are irrelevant to the actual quality of the movie, I’ll avoid rehashing them here, save to say that the disarray shows on screen.
  30. This Is Where I Leave You
    All of which leaves you wondering: Why cast such talented, interesting, and edgy performers if you're only going to ask them play it safe?
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