Entertainment Weekly's Scores

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For 7,797 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 7797
  2. Mixed: 2,079 out of 7797
  3. Negative: 760 out of 7797
7797 movie reviews
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  1. Alvin and the Chipmunks: The Road Chip
    The Road Chip fails to even cross to the low bar of Slang & Fart movies — though, in its defense, it’s also barely a movie.
  2. Zoolander 2
    Zoolander No. 2 is embarrassing, lazy, and aggressively unfunny. The only good news is that at the pace the franchise is moving, we won’t get Zoolander 3 until 2030.
  3. The Final Girls
    As horror comedies go, this one sadly winds up somewhere between Scary Movie 4 and 5.
  4. Billy Lynn's Long Halftime Walk
    The weirdest and rarest misfire in Lee’s illustrious career.
  5. Gerontophilia
    There are the makings of a poignant Harold and Maude-style drama here, but the movie is so amateurish and eager to be shocking, it just winds up feeling creepy.
  6. Fifty Shades Darker
    Darker is strangely plotless and devoid of any real tension.
  7. Pacific Rim: Uprising
    If you enjoyed 2013’s Pacific Rim but secretly wished it was more like a vapid Transformers sequel, then you’ll love Pacific Rim Uprising. Everyone else can give this heavy-metal howler a hard pass.
  8. The Benefactor
    Gere, an actor capable of great nuance, hams it up so mightily you’d think the film was sponsored by Boar’s Head.
  9. Valerian and the City of a Thousand Planets
    During the film’s intoxicating first 30 minutes, for example, I couldn’t decide whether what I was watching was brilliantly bonkers or total folly. Then, as the story went on, it came into sharper and sharper focus: Valerian is an epic mess.
  10. My Big Fat Greek Wedding 2
    The winking ethnic jokes weren’t all that revolutionary in the first film, and this time around, they feel even more stale.
  11. Underworld: Blood Wars
    While the film may justify its title in terms of the viscera on display, it is badly in need of a funny bone.
  12. Ashby
    Rourke, whose face has become an inexpressive waxwork in recent years, doesn’t do much with what’s already a pretty undercooked role.
    • 29 Metascore
    • 42 Critic Score
    Ratchet & Clank
    The looming notion that Ratchet & Clank’s story and characters already exist (in playable form, to boot) consistently tugs us away from the film at hand and into the nearest GameStop, where we’re free to browse the shelves for a far more satisfying experience.
  14. Kingsman: The Golden Circle
    If the first Kingsman, at its best, felt like a dry martini of a joke, then this one is more Jack and Mountain Dew — unsubtle, unrefreshing, and unnecessary.
  15. The Snowman
    The Snowman is completely bereft of either style or emotion.
    • 41 Metascore
    • 42 Critic Score
    The Perfect Match
    As if to make up for the predictable main plot, The Perfect Match is bogged down with a slew of uninteresting B-stories.
  17. Collateral Beauty
    These actors are too good to be entirely sunk by the sheer silliness of the material (with the exception of Smith, who seems fully committed to playing the role of a human frown-face emoji).
  18. New Jack City
    It’s got some talented actors and a certain jagged inner-city atmosphere, yet this first feature directed by Mario Van Peebles (son of the veteran black director Melvin Van Peebles) is little more than a sketchy exploitation melodrama.
  19. The Predator
    The Predator isn’t a dumb movie exactly. But it’s not a smart one either. What it is, is something uncomfortably in between: a satire of a franchise that was already in on its own macho joke.
  20. Rio, I Love You
    Vincente Amorim weaves each short together with lots of sweeping panoramas of the city, and the end result feels less like a collection of love stories and more like a bland tourism ad.
  21. Special Correspondents
    What Gervais may have previously turned into a pointed satire of the news media instead becomes a flimsy farce that’s surprisingly low on laughs.
  22. A Cure for Wellness
    Narratively preposterous and probably an hour too long, it’s the year’s first big howler. It could have been DeHaan’s "Shutter Island," but instead it’s just Gore Verbinski’s latest self-indulgent mess following "The Lone Ranger."
  23. CHIPS
    While CHIPS sure is goofy, it falls flat compared to other buddy-cop comedies in its genre, relying too heavily on unpleasant sex jokes (often revolving around gay panic) and a nonsensical crime plot.
  24. American Pastoral
    As hard as they work to add nuance, Connelly is trapped in mad-housewife hysteria, Fanning’s a brat, and McGregor never really rises above a strange, stunned blandness. It’s a noble effort, almost completely lost in translation; give it an American pass.
  25. Approaching the Unknown
    The film doesn’t seem particularly interested in grappling with any of those issues beyond the most superficial level.
  26. Insidious: The Last Key
    Aside from one gag in particular, the scares lack any real mechanical knack. The one thing the otherwise forgettable film has going for it is Shaye, who over the course of the Insidious quadrilogy has miraculously created a real flesh-and-blood character with Elise.
  27. London Road
    The result, alas, is totally bolloxed, as a Brit might say, by execution.
  28. Salt and Fire
    In Salt and Fire, a bad movie but an intriguing vacation slideshow, Michael Shannon and Veronica Ferres play “characters” (unconvincing, undimensional) and speak “dialogue” (expository, flat).
  29. My Blind Brother
    Its tired indie trappings (arrested development, dull cynicism) turn the film into its own kind of marathon.
  30. The Eyes of My Mother
    The film has a stunningly hypnotic look thanks to Zach Kuperstein’s crisp black-and-white ­cinematography. It feels like a waking nightmare. It’s just enough to make you wonder how a film that’s so ugly managed to look so damn good.
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