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. Fifty Shades of Black
    The film manages to be surprisingly subversive with its humor.
  2. Jane Got a Gun
    Since the film’s last-minute rewrites, casting switcheroos, and musical chairs behind the camera are irrelevant to the actual quality of the movie, I’ll avoid rehashing them here, save to say that the disarray shows on screen.
  3. Monster Hunt
    The plot is even more nonsensical than it sounds, but the monsters’ high-energy antics and the humans’ martial-arts skills make for a delightfully bizarre adventure romp.
  4. The Boy
    The Boy, from director William Brent Bell, aims to set itself squarely in the fictional canon of "Chucky" and its brethren, but it ends up trying to do so much that it forgets to scare us.
  5. Kung Fu Panda 3
    Just complicated enough to reward steady viewers and just simple enough for parent escorts to enjoy without much prior knowledge.
  6. JeruZalem
    The niftily claustrophobic use of actual Jerusalem locations offers a nice holiday from the more familiar backdrops favored by the POV genre.
  7. The Finest Hours
    An intermittently affecting, sanded-edge adventure that feels as if it trundled off the studio production line back when Eisenhower was in office.
  8. Dirty Grandpa
    Dirty Grandpa feels like spending 100-plus minutes with a scatalogical toddler, proudly showing you what he made in his diaper. Don’t look if you don’t have to.
  9. The 5th Wave
    The frankly preposterous nature of the film’s setup is rendered slightly less so by a couple of second act reveals. But, by then, many viewers will have lost interest in a movie with a very high bodycount but a very small amount of grit, either emotional or literal.
  10. 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.
  11. A Perfect Day
    Del Toro’s low-key resignation gives the film what power it has, but the female characters (played by Mélanie Thierry and Olga Kurylenko) are disappointingly thin.
  12. Norm of the North
    The animation already looks dated, and it feels as lazy as the bland narrative.
  13. 13 Hours: The Secret Soldiers of Benghazi
    There’s a real story of American heroism somewhere in here, but it’s diluted by Bay’s worst tendencies.
  14. Ride Along 2
    Ride Along 2, which moves the action from Atlanta to Miami, plays more like a remake than a sequel.
  15. Timbuktu
    Visually dazzling and morally devastating.
  16. The Forest
    Perhaps the biggest problem with The Forest is that it’s ultimately not very scary.
  17. Lamb
    Based on a lauded 2011 novel of the same name, Lamb is about as strange as it sounds: a Lolita story almost more unsettling for the lines it doesn’t explicitly cross.
  18. Yosemite
    Franco gives one of his most subtle performances yet as a recovering-alcoholic father, and the three young newcomers’ performances are honest and affecting, capturing what it feels like to be adrift and on the verge of adolescence.
  19. Anesthesia
    The cast (which includes Glenn Close, Sam Waterston, Kristen Stewart, and Corey Stoll) is strong, but the movie itself is a little exhausting, like a New York cousin to Paul Haggis’ Crash, with a smaller budget and a bigger vocabulary.
  20. Anomalisa
    It’s obvious that Kaufman has always seen the world differently from the rest of us. And even if it takes a little time to settle into Anomalisa’s disorienting, herky-jerky groove, Kaufman ends up bewitching us with his fresh take on the oldest and most hackneyed of cinematic themes: boy meets girl…and anxiety ensues.
    • 42 Metascore
    • 67 Critic Score
    Daddy's Home
    Anders had many opportunities to pit the dads against each other directly, but trades in the cheesy, expected route for devious mind games.
  22. 45 Years
    Courtenay is a gruff and gratifyingly knotty presence, but in the end it’s Rampling’s movie. In a quiet, beautifully calibrated performance completely stripped of actressy tricks, she’s a revelation.
  23. Where to Invade Next
    Where to Invade Next is so heartfelt and sincere, it’s tempting to say that Moore’s mellowed with age. But beneath its innocent-abroad optimism, the film has a stinging truth that’s hard to ignore.
  24. Concussion
    Director Peter Landesman, who also helmed last year’s political thriller "Kill the Messenger", doesn’t color much outside the lines of conventional drama. But his straightforward telling actually serves the strong cast and taut script — and a story that would be deemed too outrageous to believe if it wasn’t true.
  25. 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.
  26. Son of Saul
    It’s the rarest kind of moviegoing experience: an absolute masterpiece.
  27. Star Wars: Episode VII - The Force Awakens
    The ending he’s come up with for The Force Awakens feels so perfect it’s hard to imagine it any other way. In an age when we’ve all become binge watchers, we feel as if it’s become our right to immediately roll right into the next episode, the next sequel. And when The Force Awakens ends, it’s bittersweet because you so badly want to head right into the next chapter.
  28. Sisters
    There’s really no not-terrible term for smart, silly female-bonding movies that are somehow considered subversive just for acing the Bechdel Test.... Sisters earns a spot in that pantheon, however it’s defined—even if it’s never quite as good as its leads.
  29. The Hateful Eight
    The Hateful Eight doesn’t have enough ideas. Set almost entirely in a snowed-in saloon, the story’s so spare it doesn’t warrant either its three-hour running time (including an overture and intermission) or his use of 70mm projection. It’s narratively and visually claustrophobic.
  30. In the Heart of the Sea
    Howard’s film, for all of its storytelling skill, technical polish, and rousing high-seas sequences, never quite casts the spell it should. It’s too polite to give us a real feeling of life or death. Its sense of danger is watered down.
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