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. The Great Wall
    The Great Wall looks like it could be a really amazing video game. Alas, it’s a movie, and kind of a brick.
  2. Fist Fight
    The jokes are downright sophomoric… and sparse.
  3. 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."
  4. Land of Mine
    Land of Mine is essentially bomb porn.
  5. A United Kingdom
    It’s their quiet devotion and enduring dignity that give A United Kingdom not just a romantic center, but its soul.
  6. The LEGO Batman Movie
    LEGO Batman revs so fast and moves so frenetically that 
it becomes a little exhausting by the end. It flirts with being too much of a good thing. But rarely has corporate brainwashing been so much fun and gone down with such a delightful aftertaste.
  7. Fifty Shades Darker
    Darker is strangely plotless and devoid of any real tension.
  8. John Wick: Chapter 2
    The idea of a secret world of professional killers adhering to a set of civilized conventions may sound absurd, but it’s what makes the Wickverse more intriguing and far richer than the usual numbskull orgy of cinematic nihilism.
  9. Rings
    As a threequel, Rings suffers a bit from franchise fatigue. It tries to fix that by giving viewers an even deeper look at the mythology of Samara and the videotape, with mixed results.
  10. Dark Night
    It’s also a haunting, thought-provoking piece of work, made infinitely more powerful by all the things it chooses not to show.
  11. War on Everyone
    Crass, senseless, and relentlessly talky, War on Everyone mostly seems like a movie at war with itself.
  12. 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.
    • 40 Metascore
    • 75 Critic Score
    The Comedian
    The Comedian explores the dynamics of such unorthodox attraction with its heart in the right place, but for all of its performative charm, it still suffers the untimely misfortune of following an old, white man grousing about the state of affairs as the world diversifies around him.
  14. Resident Evil: The Final Chapter
    The climax makes for a satisfying conclusion to the franchise—an ending which this writer expects, and even hopes, all concerned will studiously ignore when they get around to making the next one.
  15. The Salesman
    By the film’s shattering end, you’ll feel the spirit of Arthur Miller, one of the great dramatists of the 20th century, reaching across the transom to touch one of the great dramatists of the 21st.
  16. A Dog's Purpose
    Purpose itself plays like a family film from another era, its gentle sensibilities a million miles removed from the winky pop culture references and meta layers of most modern all-ages entertainment. The effect is sweet, benignly retro, and just a little bit boring; a comforting Milk Bone for the soul.
  17. I Am Not Your Negro
    If there’s a flaw with the film (and it’s a minor one), it’s Peck’s impulse to cram it with clips from lily-white Doris Day movies and John Wayne Westerns that are a bit too on the nose.
  18. The Red Turtle
    Lavish with stunning imagery, the experience will ripple into your dreams.
  19. The Book of Love
    It’s a diabetically sappy big-screen self-help seminar that should have been titled The Book of Schmaltz.
  20. Monster Trucks
    The final result is… rather unspectacular.
  21. 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.
  22. I, Daniel Blake
    Loach’s film isn’t as stridently political as it probably sounds. These are just proud people who want to be treated with respect. There’s one slightly melodramatic turn near the end that felt off, but by then I was already three tissues deep.
  23. A Monster Calls
    Bayona packs his tale with spellbinding visuals and honest emotion, and if the ending doesn’t reduce you to tears, you may be the real monster.
  24. Hidden Figures
    Charged with streamlining Figures’ knotty real-life histories, director Theodore Melfi (St. Vincent) tends to paint too much in the broad, amiable strokes of a triumph-of-the-week TV movie. But even his earthbound execution can’t dim the sheer magnetic pull of an extraordinary story.
  25. Paterson
    Even though Jarmuch has a distinct directorial style, it’s his style. It’s impossible to imitate. These days, I can’t think of a higher compliment.
  26. Assassin's Creed
    Here’s a film that turns Michael Fassbender into a puppet, and oh, those strings hold him down.
  27. The Autopsy of Jane Doe
    The Autopsy of Jane Doe is essentially a 90-minute episode of Jack Klugman’s late-’70s TV show "Quincy, M.E." with more graphic gore, goo, and guts.
  28. Live by Night
    Live by Night is clearly Affleck’s love letter to classic pulp, and almost no noir touchstone goes unturned in its two-hour-plus run.
  29. Fences
    It’s as good as screen acting gets.
  30. 20th Century Women
    Plotwise, Women is a wisp; as a mood piece, though, it’s almost irresistibly rich.
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