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. X-Men: Apocalypse
    Apocalypse feels like a confused, kitchen-sink mess with a half dozen too many characters, a villain who amounts to a big blue nothing, and a narrative that’s so choppy and poorly cut together that it feels like you’re watching a flipbook instead of a movie.
  2. Elstree 1976
    There are some stretches of the film that are frankly a bit boring and wouldn’t be missed if they were cut.
  3. Bridgend
    Based on a real-life rash of teen suicides in Wales, Danish director Jeppe Rønde’s 2015 Tribeca winner feels like the sort of slow BBC America procedural you’d quickly give up on.
  4. Bite
    It seems to exist merely to spoil your appetite.
  5. A Bigger Splash
    This reworking of the 1969 erotic thriller "La Piscine" beautifully explores the difficulties of communication. Aging rock star Marianne Lane (Tilda Swinton), muted by vocal surgery, is dealing with Harry (Ralph Fiennes), a former flame.
    • 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.
  7. Keanu
    Even if it can’t compete with the best highlights from their TV show, Keanu is a solid first step into movie stardom for both Key and Peele.
  8. Mother's Day
    If you love your mother, do not make her see this movie.
  9. The Man Who Knew Infinity
    Unfortunately, the film is nowhere near as innovative as its subject.
  10. The Family Fang
    Based on the best-selling 2011 novel, Fang is directed by Bateman with a sensitivity that the story’s sour whimsy doesn’t quite deserve.
  11. Viva
    Havana’s crumbling trapped-in-time beauty also plays a starring role, but it’s Medina who provides the movie’s raw, tender heart.
  12. 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.
  13. Captain America: Civil War
    Despite its stars-and-stripes title, Marvel’s latest billion-dollar-blockbuster-to-be, Captain America: Civil War, is essentially a third Avengers movie – it’s also the best one yet.
  14. Elvis & Nixon
    As a surreal slice of history served up nearly half a century later, it feels oddly satisfying: A reminder not just of simpler times, but of all the other wild untold stories we may never know, just because no camera was there to capture them.
  15. A Hologram for the King
    If it sounds like Hologram is basically about a middle-aged white guy getting his groove back in the Middle East, well, yes, it is that. But if you squint hard enough, it’s also a little bit more.
  16. Holidays
    Some of the films are haunting, some of them more macabre, but all of them play with holiday symbolism in way that will make viewers rethink a lot of their favorite celebrations.
  17. The Meddler
    Her character, reportedly based on writer-director Lorene Scafaria’s own mother, isn’t drawn with any particular depth or nuance (and the broad New Yawk accent Sarandon tries on is about as authentically Brooklyn as a Sara Lee bagel).
  18. The Huntsman: Winter's War
    It’s the movie equivalent of a cake that’s all frosting.
  19. 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.
  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. Sing Street
    It’s like a lost John Hughes movie with Irish brogues and cars that just happen to drive on the other side of the road. It’s also, sadly, exactly the kind of sweet little film that too often gets buried in a box office ruled by broader comedies and bloated superhero epics
  22. Barbershop: The Next Cut
    Even when it falls short of its aim to get every last Beyoncé joke and Big Idea onscreen, the movie still offers what any barbershop worth its repeat customers provides: An hour or two of good company, and the feeling that you’re leaving a little sharper than when you came in.
  23. Criminal
    Criminal’s story moves like a fat cow. Costner and Oldman’s characters are sluggishly chasing after — irony alert! — a big black duffel back full of $100 bills, hidden behind a stack of George Orwell books.
  24. Green Room
    Part of being in a punk band involves having to play some pretty hostile venues. But the one in writer-director Jeremy Saulnier’s new white-knuckle thriller, Green Room, makes the typical mosh-pit dive look like a kindergarten run by nuns.
  25. Hush
    Flanagan’s taut direction reinforces his rep as an up-and-comer we will hopefully be hearing much more from.
  26. The Jungle Book
    The Jungle Book is a tender and rollicking fable that manages to touch on some grown-up themes about man’s destructive power and the loss of youthful innocence without losing sight that it’s first and foremost a gee-whiz kids adventure.
  27. The Invitation
    Kusama ratchets the story’s tension masterfully, building to a final shot that’s as chilling as it is perfect.
  28. Louder Than Bombs
    While Byrne is solid (as always) and Eisenberg is restrained (a relief after his manic Lex Luthor), it’s newcomer Druid whose scenes pack the most power and force.
  29. Mr. Right
    The ludicrous action-flick plot slows to a crawl whenever Kendrick and Rockwell aren’t on screen.
  30. The Boss
    A few moments are fantastically bonkers, but granting director duties to McCarthy’s husband, Ben Falcone, feels more like an act of love than wisdom.
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