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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    • 40 Metascore
    • 42 Critic Score
    Smurfs: The Lost Village
    A saccharine fantasy-adventure that’s sure to tide the tots over until a shinier one (Cars 3, anyone?) comes along to take its place.
  2. Going in Style
    A lazy hash of cheap geezer gags and spoon-fed sentiment.
  3. 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).
  4. Gifted
    In the end, what should be a three-hankie, ugly-cry tearjerker feels unnuanced, overplotted, and mechanical. Frank and Mary deserved better.
  5. Colossal
    Even if the script’s psychological reach ultimately falls short, Colossal is still a clever, comic, wildly surreal ride — right up until the last sucker-punch frame.
  6. The Boss Baby
    Like many DreamWorks movies, The Boss Baby‘s most imaginative moments are the random asides.
  7. Ghost in the Shell
    If there’s anything Sander’s ravishing set pieces fail to sufficiently color in, it’s the movie’s emotional stakes.
  8. The Zookeeper's Wife
    Even at its most engaging (those cubs!), Zookeeper can’t help evoking the dozens of films that have told these stories before, and better.
  9. Life
    If you lower your sights a few pegs and go in looking for a solid, tight B-movie that builds right until the final shot, there’s a lot to like.
  10. 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.
  11. Bokeh
    There’s a seed of an interesting, Twilight Zone premise here — what would you do if you were the last two people on earth? But Bokeh doesn’t seem to know what to do with it besides have its photogenic Adam-and-Eve leads take long nature walks, play board games, and upgrade their living conditions.
  12. Wilson
    Wilson has some deliciously awkward laughs thanks to Harrelson’s curmudgeonly, childlike performance, but it zips right along without ever landing any emotionally resonant blows.
  13. Saban's Power Rangers
    Most movies like Power Rangers get the first-half Y.A. character stuff wrong and the second-half smashy-smashy action stuff right. This one does just the reverse.
  14. The Belko Experiment
    Belko is an appropriately disreputable, gleefully disturbing movie.
  15. T2 Trainspotting
    The good news is that the film’s four lead actors all slip seamlessly back into their onscreen alter egos as if they’ve been keeping tabs on them all these years.
  16. Frantz
    Every one in the film, down to the smallest characters on the fringes, is keeping secrets and spinning lies. And those lies beget more lies and more until the truth is a distant memory. It’s what can happen when life feels too overwhelming and unbearable to face.
  17. Song to Song
    In terms of content and meaningfulness, Terrence Malick’s Song to Song is the cinematic equivalent of a Trump press conference. Incoherent, disconnected, self-interrupting, obsessed with pointless minutiae and crammed full of odd, limp stabs at profundity from a closed-off man in his 70s who apparently has no ability to edit or accept constructive criticism.
  18. Raw
    Raw is unsettling and repulsive and, believe it or not, occasionally funny. It’s got audacity and style, and it packs an undeniably wicked punch.
  19. Burning Sands
    There isn’t much room for nuance in his script, and the movie’s darkness (literally: too many poorly lit nighttime scenes are more heard than seen) undermines its message. But there’s something powerful even in its predictability.
  20. Personal Shopper
    Stewart, who appears in nearly every scene, is intensely watchable, a coiled spring. But the movie is too fragmented and tonally strange to register as more than one of Maureen’s wispy, haunted apparitions.
  21. Beauty and the Beast
    It’s fine and funny and sweet and lush and some of the songs are infectious, but I still don’t completely understand why it exists — and why they couldn’t do more with it.
  22. The Freedom to Marry
    If the 
story’s outcome is hardly a 
mystery — the landmark case was affirmed by a 5–4 margin in June 2015 — and the look of the film itself a little docu-drab, it’s also a shrewd and frequently moving testament to the true nature of change.
  23. 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.
  24. 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.
  25. Before I Fall
    A teen melodrama that’s steeped in clichés but still has an unexpectedly poignant message.
  26. Kong: Skull Island
    Hiddleston and Larson are especially let down by the script, which wants to be jokey in the way that something like Predator was, but can’t pull it off. The same lack of care goes into the period-specific song choices that have as much imagination as a Time-Life Songs of the ‘70s set.
  27. The Girl with All the Gifts
    It’s a film for people who thought they never needed to sit through another zombie flick.
  28. Get Out
    Peele is undeniably a born filmmaker with big ambitions and an even bigger set of balls. He’s made a horror movie whose biggest jolts have nothing to do with blood or bodies, but rather with big ideas.
  29. Logan
    The loner has to learn to put someone else first. It’s both as manipulative and hokey as that sounds, but occasionally it works well enough that you might find yourself getting choked up against your better judgment.
  30. In Dubious Battle
    For all its noble intentions, though, the movie struggles to transcend broad outlines: Its characters are strictly symbols, timeworn archetypes of good and evil as threadbare and familiar as the artfully faded calicos and denim on their backs.
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