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. Why Him?
    It all works in theory. But the execution’s off.
  2. The Space Between Us
    The Space Between Us attempts to take young love to literally new heights before crash-landing into an earthbound hash of schmaltzy clichés and romantic absurdities.
  3. The Wave
    The visual effects are excellent, but director Roar Uthaug, who’s been tapped to reboot the "Tomb Raider" franchise, splashes in the clichés of big, dumb American action movies.
  4. Star Wars: Episode IX - The Rise of Skywalker
    We need a new franchise designation for this stumbling, bloodless conglomeration of What Once Was. Rise of the Skywalker isn’t an ending, a sequel, a reboot, or a remix. It’s a zombie.
  5. Misconduct
    The movie’s silly-arty aesthetic is regurgitated Polanski, and there’s a shameless script steal from "Presumed Innocent."
  6. Baywatch
    Honestly, I’ve seen more narratively ambitious Mad Libs.
    • 65 Metascore
    • 50 Critic Score
    The Confirmation
    The Confirmation becomes a string of father-son misadventures that lack memorable characters or engaging dialogue.
  8. Fast X
    Fast X wants all the grandiosity of finality while not actually ending anything.
  9. Going in Style
    A lazy hash of cheap geezer gags and spoon-fed sentiment.
  10. Nina
    Saldana (Avatar, Guardians of the Galaxy) is an accomplished and bankable actress, but she doesn’t look much like Simone. That has led to several complaints, including from the Simone estate.
  11. Genius
    The movie — dutifully shot in shades of old-timey sepia — does get better as its staginess falls away, but far too much drama stays on the page.
  12. Annabelle: Creation
    Annabelle: Creation isn’t a terrible film. Not exactly. The set-up is promising, and it offers some decent early jump scares. But eventually the thinness of the material becomes overwhelmingly obvious.
  13. The Duel
    The plot may be fairly predictable, but Harrelson goes all in as the deranged preacher, and he’s a delight to watch, whether he’s wiggling his eyebrow tattoos or prancing about town on horseback, dressed in an all-white suit. Hemsworth, on the other hand, remains monotone.
  14. Ouija: Origin of Evil
    Effective horror relies on the actualization of some deep-seated cultural fear, but Ouija: Origin of Evil supplies only ineffective clichés and half-hearted attempts at franchise building.
  15. Table 19
    Slight even by the wafer-thin standards of the wedding rom-com genre, writer-director Jeffrey Blitz’s Table 19 offers a couple of mild chuckles, six actors who’ve all been far better elsewhere, and a mercifully brief running time.
  16. Demon
    A so-so meditation on historical amnesia. It’s also so weighted down with mysticism and metaphor it forgets to quicken your pulse or whiten your knuckles.
  17. The Rocketeer
    The Rocketeer is mostly an example of pop moviemaking at its most derivative.
  18. Land of Mine
    Land of Mine is essentially bomb porn.
  19. Mute
    The one thing Mute has going for it is Jones’ vividly imaginative sense of world-building. Like Ridley Scott with "Blade Runner," he fills every corner of the screen with something cool to look at.
  20. True Memoirs of an International Assassin
    True Memoirs is harmless, disposable junk food that has just enough laughs to make you feel like you didn’t get scammed.
  21. American Assassin
    As Hurley and Rapp race against the terrorists, the plot is too dumb to be taken seriously and too self-serious to be any fun.
  22. Flatliners
    It often feels like Flatliners is trapped between multiple genres without knowing exactly what kind of movie it wants to be, and the result is a confused mess.
  23. All We Had
    The directorial debut of actress Katie Holmes, starring herself as Rita, a drunk single mother living out of her car, is the latest well-intentioned yet lousy-with-clichés treatment in the hard-luck-woman subgenre.
  24. Gifted
    In the end, what should be a three-hankie, ugly-cry tearjerker feels unnuanced, overplotted, and mechanical. Frank and Mary deserved better.
  25. A Wrinkle in Time
    A Wrinkle in Time hits that unfortunate un-sweet spot common to big-budget science-fiction/fantasy, where the spectacle feels more summarized than experienced.
  26. Robin Hood
    On all fronts, it strives to twist the Robin Hood story into something more provocative, but ultimately it’s a garbled, hollow mess of attempts at relevancy.
  27. The Last Word
    Shirley MacLaine’s well-deserved reputation as a salty, snappy grand dame — forged from later-career work like "Terms of Endearment," "Steel Magnolias," "Postcards from the Edge," "Bernie", etc. — unfortunately precedes her in this sloppy, saccharine drama costarring Amanda Seyfried.
  28. The Book of Love
    It’s a diabetically sappy big-screen self-help seminar that should have been titled The Book of Schmaltz.
  29. Sleight
    You’d hope that a film like this could put a bold new spin on the superhero story. The reverse is true: Here we are in 2017, and even our nifty low-budget crime movies are building a cinematic universe, and saving the best stuff for the sequel.
  30. Manifesto
    The goal of any manifesto is making its aims as clear as possible. But it’s never clear what this Manifesto is aiming for besides a cheeky roll call of intellectual camps. Ph.D.s in art theory will chuckle knowingly as everyone else eyes the exit.
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