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 2.2 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. Deadpool 2
    It’s in Deadpool’s DNA to channel the wild id of a 12-year-old boy — a very clever one who happens to love boobs, Enya, and blowing stuff up. Which is dizzy fun for a while, like eating Twinkies on a Gravitron. Eventually, though, it just wears you out.
  2. Beast
    Pearce takes his time laying out his sleeping-with-the-enemy tale, but his stinginess with plot lends the film an vice-tightening air of mystery that suits it.
  3. The Seagull
    The Seagull is lush and dreamlike, leaving the drawing room for lake, field, and forest. Though we lose some of Chekhov’s claustrophobic talkiness, the dense poetry of his language, Mayer fully captures Chekhov’s sharp humor.
  4. Breaking In
    It’s a fun, pulpy premise, but sadly, the film takes a route that’s too silly to be taken seriously and too tame to be any fun.
  5. Terminal
    This stylish-but-grating pastiche of far better crime flicks is as soft-boiled as they come.
  6. Cargo
    The Australian setting brings a fresh, and epic, quality to this now done-to-death genre, and the directors introduce a few nice new kinks to the zombie mythology, notably a desire on the part of the undead to literally — and hauntingly — bury their heads in the sand. But the real treat is Freeman.
  7. The Escape
    Its title sounds like the premise for some kind of high-adrenaline adventure about maze-running or outgunning a nuclear apocalypse. But The Escape is both less thrilling and much scarier, in its own way — a quiet domestic-drama chamber piece with a vein of pure desperation thrumming beneath it.
  8. Life of the Party
    A charming and generally painless way to spend two hours. It’s not nearly as sharp as some of the best stuff she’s done, but it’s pointedly kinder too, wrapping even its nastiest characters.
  9. One October
    It’s Pigeon’s sincere approach here and throughout the documentary that holds the audience’s attention.
  10. Manhunt
    Still, there are enough glimpses of the old master peeking through that it’s hard not to have a bit of a good time. It turns out that even second-rate (okay, third-rate) Woo has its moments.
  11. Anon
    The story works well enough in its own moodily familiar way, but it’s not only the movie’s palette that’s stylishly leached of color: Its main characters’ backstories feel perfunctory, the dialogue leans heavy on exposition and hard-boiled cliché, and even Owen looks worn down.
  12. Overboard
    Overboard lists and wanders through the shoals of secondhand comedy and eventually, just drifts away.
  13. RBG
    RBG is an unapologetic valentine to Supreme Court Justice Ruth Bader Ginsburg, but a sharp and spiky one too.
  14. Zoe
    An unimaginative waste of science-fiction potential.
  15. The Week Of
    It feels like Smigel and Sandler just shot the first draft of their script without fine-tuning or polishing any of the jokes.
  16. Disobedience
    If the film itself feels like a little less than the sum of its provocative premise, it’s still moving in its own unshowy way: a quietly profound exploration of identity, sacrifice, and the connection all human beings long for, whether or not their God or their family or their community approves.
  17. Avengers: Infinity War
    What saves Infinity War from being just another bloated supergroup tour – and what will end up being the thing that blows fans’ minds to dust – is the film’s final stretch.
  18. Godard Mon Amour
    Michel Hazanavicius’ new film, Godard Mon Amour, tackles that period in Godard’s life on and off the screen — and does it in a dismissively light-hearted way that I’m sure the auteur himself loathes.
  19. Super Troopers 2
    Isn’t aggressively terrible or outrageously offensive. It’s just harmless, pointless, and meh. You’d think with 17 years at their disposal these guys would be able to come up with some jokes that weren’t so half-baked and dumb. Alas, this is low-hanging fruit all the way.
  20. Ghost Stories
    Pretty light on scares and only hangs together with the thinnest (and hokiest) of narrative threads.
  21. Zama
    The film makes a compelling portrait of how job assignments can eventually become jail sentences, and how years can drift into each other with little care for unfulfilled dreams. As it goes, Zama ponders the unanswerable question of what kind of life, exactly, is worth living.
  22. Tully
    Tully feels like the work of a writer who’s matured and lived and become less superficial without giving up any of her natural gift for finding humor in the absurd.
  23. Pass Over
    The dialogue mixes Sunday school and the streets, and it’s funny, profane, and occasionally poignant when it’s not a bit too on the nose.
  24. The Devil and Father Amorth
    Whatever the case, you’re better off rewatching the fake Linda Blair movie.
  25. 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.
  26. 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.
  27. 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.
  28. Lean on Pete
    Pete is no kind of fairytale; instead, it’s something far sadder and better and more real.
  29. The Broken Tower
    It’s a pensive and heartfelt movie, assuming that you let yourself get caught up in its moody-minimalist, more-visual-than-verbal style.
  30. Borg vs. McEnroe
    Of the film’s two stars, it’s LaBeouf who seems especially well cast here. Until now, the actor has never seemed to measure up to the potential that he promised early on in his career. But there’s something about playing McEnroe that brings out the sort of unpredictable subtlety he’s always been capable of.
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