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. Still Life
    The plot begs for a jolt of the Charlie Kaufmanesque — it's so pillow-smothered by tedium that even the uplift of magic realism in the film's final shot seems cold and stiff.
  2. The Boss Baby
    Like many DreamWorks movies, The Boss Baby‘s most imaginative moments are the random asides.
  3. Mistress America
    Noah Baumbach’s latest wisp of privileged New York whimsy vaporizes on arrival.
  4. Knock Knock
    Knock Knock is a pretty flimsy erotic thriller, but thanks to Reeves’ oaken obliviousness it’s also got a few moments of deliciously trashy fun.
  5. Hot Pursuit
    What’s spanglish for déjà vu? There’s hardly a single moment in Hot Pursuit that won’t remind you of scenes you’ve seen at the multiplex a thousand times before. (The movie’s original title was Don’t Mess With Texas, probably because Thelma & Louise Ride the Pineapple Express All the Way to Jump Street — and They’ve Got Lethal Weapons, Y’all! was just too long.)
  6. Snowden
    It somehow manages to make a fascinating, utterly contemporary narrative feel like old news.
  7. The Boy
    The Boy, from director William Brent Bell, aims to set itself squarely in the fictional canon of "Chucky" and its brethren, but it ends up trying to do so much that it forgets to scare us.
  8. Free State of Jones
    Ross wants to shake up the format­—notably with a few scenes set 85 years after the war—but like so many directors who have tackled ­historical social issues before him, he confuses noble, cornball sermonizing for art.
  9. Keeping Up with the Joneses
    Between Zach Galifianakis, Isla Fisher, Jon Hamm, and Gal Gadot, Keeping Up with the Joneses has a stacked cast, but thanks to a tepid script from Michael LeSieur (You, Me and Dupree), they don’t actually get that much to do.
    • 56 Metascore
    • 50 Critic Score
    7 Chinese Brothers
    The movie’s soundtrack is excellent. Too bad that it’s one of the only things this cinematic portrait of a serial screw-up has going for it.
  11. The Vatican Tapes
    The Vatican Tapes is basically “Exorcism’s Greatest Hits” played by a schlocky cover band.
  12. The Gallows
    This is another found-footage movie that, with a little art direction and some actual cinematography, could easily have been a decent little terrorizer. Instead, it comes mostly unglued thanks to its hacky gimmick.
    • 48 Metascore
    • 50 Critic Score
    Ride
    Hunt seems to confuse fast-talking with crackling banter, and the mother-son bond is way ickier than it is cute.
  14. We Are Your Friends
    The film fakes emotion with flashing lights and a pulsing soundtrack, and before Cole realizes the music was in him this entire time (ugh), the story falls flat
  15. 3 Generations
    Director Gaby Dellal (On a Clear Day) admirably avoids the trap in which transgender characters are portrayed as victims, but she way overcranks the “movie” neuroses of her three characters, muffling any human spark.
  16. The Equalizer 2
    Apart from the film’s occasional spasms of rousing, lightning-choreographed ultraviolence (a confrontation with an apartment full of date-raping finance bros is particularly great), the film is too enamored with its own morose righteousness to be very engaging.
  17. Our Brand Is Crisis
    The comedy here isn’t very funny and the drama isn’t very sharp.
  18. Extinction
    Director Miguel Ángel Vivas tries to add a family-drama twist to an otherwise standard survival story, but the characters aren’t complex enough (and the secrets aren’t explosive enough) to elevate this beyond a basic zombie flick.
  19. Truth
    For a movie about the importance of objectivity, Truth feels like a biased and sanctimonious op-ed column.
  20. Jumanji: Welcome to the Jungle
    Welcome to the Jungle isn’t a bad movie. It’s a diverting, mildly amusing, competent bit of big-budget studio product. And maybe those are the stakes we’re now playing for these days.
  21. Fathers and Daughters
    Fathers and Daughters’ predictable plot keeps it from ever becoming a truly enjoyable tearjerker.
  22. Love the Coopers
    Even with such a talented ensemble, Love The Coopers’ convoluted narrative and overreliance on Christmas clichés keeps it from sparking any real holiday magic.
  23. Jack Reacher: Never Go Back
    Like its predecessor it’s an unremarkable placeholder until the next "Mission: Impossible" flick comes along.
  24. Hardcore Henry
    A hypercaffeinated first-person action flick that teeters somewhere between gonzo insanity and a nausea-inducing endurance test.
  25. A War
    Once again, the shaky handheld camerawork in the battle scenes don’t portray chaos so much as a sense that the cinematographer was being attacked by desert bees
  26. Remember
    A twisted helix of "Memento" and "Munich" without either of those film’s craft, depth, or thematic murkiness.
  27. Heist
    The heist in Heist is pretty pedestrian, and the film turns into Die Hard-on-a-bus with a couple of so-so twists and serviceable spasms of action. If that’s what you’re looking for, rent Speed instead.
  28. The Choice
    The Choice feels like Mad Libs with some of Sparks’ laziest clichés — a romantic rowboat, a colorful small-town carnival, a jealous upper-class boyfriend — and the result is a predictable, recycled mess.
  29. Shelter
    Its intentions are noble. Its gaze is harshly realistic. But it’s also overly melodramatic. Bettany has the makings of better director than screenwriter.
  30. Fist Fight
    The jokes are downright sophomoric… and sparse.
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