Entertainment Weekly's Scores

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 2.1 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:
7797 movie reviews
  1. As a politico, Ed Koch loved power a little too much. But as a leader, he was a storybook embodiment of New York's contradictions, which is why his chapters in the city's saga loom so large.
  2. The Jeffrey Dahmer Files is for hardcore Dahmer obsessives only.
    • 57 Metascore
    • 83 Critic Score
    All in all, Future II is another fantastic voyage in a thoroughly entertaining contraption.
  3. The East is still a compelling portrait of what gets lost (and found) when a cause becomes an obsession.
  4. The Sapphires is a movie for your heart (and your ears and moneymaker), not your head.
  5. The feverishly paced film is hell-bent on making the audience feel like they just snorted a Belushian mountain of blow. You can practically feel your teeth grinding to dust. As with any high, though, it also doesn't know when to stop.
  6. Unfortunately, Hart seems to have taken the whole ''leave the audience wanting more'' maxim a little too much to heart. The film clocks in at a hair over an hour. That might be enough for an HBO special, but it feels a little thin for a feature film.
  7. Gordon-Levitt proves a natural filmmaker, nimbly staging Jon's highly amusing Catholic confessions, along with porn montages that mimic the dopamine-charged editing of "Requiem for a Dream." He also gets a terrific performance out of Tony Danza as Jon's hilariously blinkered brute of a dad.
  8. The actors all blend terrifically, making this the film equivalent of great hang time.
  9. Nebraska isn't a perfect movie. It's often hard to tell whether Payne, an Omaha native, is paying heartfelt tribute to his vast stable of Cornhusker characters or slyly mocking them as simpleminded yokels.
  10. At times, Big Hero 6 gets a little too noisy for its own good, but that never manages to drown out its many quieter charms.
  11. It isn't easy to get close to these two women. But the effort yields a rewarding take on the resiliency and therapeutic importance of friendship.
  12. The first hour of The Last of the Mohicans plays like a convoluted history lesson. I appreciate that Mann has enough respect for the audience's intelligence to sketch in this briar patch of conflicting loyalties. But he outlines the interlocking factions without really making it clear, in dramatic terms, what each one stands for.
  13. A brightly contemporary retelling that is not so much an origin story as a coming of age: The On-His-Way-to-Amazing Spider-Boy.
  14. Schrader tries to find the human side of it all, and he scores with Lohan, who taps a vulnerability beneath her dissolution to remind you why she's still a movie star.
  15. Like "Downton Abbey" but with corsets, culottes, and tricorn hats, Belle subtly skewers the absurd rules and hypocrisies of class. But the real takeaway is Mbatha-Raw. She makes a case for why she ought to be a star.
  16. Speaking in her native Aussie twang, Byrne shows that she's a deadpan comic ace. And thanks to her chemistry with Rogen, Neighbors proves that just because you grow up doesn't mean you have to be a grown-up.
  17. Adam Scott has a controlled, almost overly impeccable charisma. Handsome, with small precise facial features, he has a witty, hiply downcast delivery that, on screen, can make him seem like a unit unto himself.
  18. You still feel that every delirious allusion, every snidely on-the-mark observational quip, is tickling a different part of your cerebral cortex. Yet the movie lacks the manic highs of the show’s best episodes; it’s a bit too rote and becalmed.
  19. The movie is voyeuristic, sure, but in a way that evokes Alfred Hitchcock's "Rear Window" more than William Friedkin's "Cruising."
    • 58 Metascore
    • 83 Critic Score
    He (Turturro) lands a three-way with two eager ladies (Sharon Stone and Sofia Vergara), but it’s his platonic meet-up with a lonely Hasidic widow (Vanessa Paradis) that establishes the deepest bond.
  20. It's a fascinating film that points the finger at a charismatic master of deception — as well as our willingness to buy his deceit.
  21. The movie borders on hagiography, but Gordon is a charmingly voluble storyteller; he’s like Dos Equis’ Most Interesting Man in the World recast as a balding Jewish guy from Long Island.
  22. Both actors still manage to show something we rarely see on screen: the heartache and happiness that come with love late in life.
  23. 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.
  24. Spy
    McCarthy’s mind just seems to race in a faster gear than her costars, allowing her to blast off arias of profane put-downs with such speed and demented originality that her mouth practically shoots sparks. As a physical comedian, she possesses the greatest gift of all: She’s totally unafraid of looking stupid.
  25. Rogue Nation may not be the best, the tightest, or even the most logically coherent M:I flick, but there should be more movies like it: relentlessly thrilling, smart entertainments for folks who can’t tell the difference between Quicksilver and The Flash—and aren’t particularly interested in trying to learn the difference either.
  26. In the title role, Michael Peña has a no-nonsense fire: He captures how Chavez borrowed from Martin Luther King Jr. but also fueled the struggle with his own improvisatory brilliance.
    • 53 Metascore
    • 83 Critic Score
    There are two kinds of people: the ones who have seen — and love — Big Trouble in Little China, a John Carpenter kung fu Western buddy Chinese ghost love story, and those poor saps who aren’t burdened with having to try and describe it to the uninitiated.
  27. Both Mbatha-Raw and Parker are appealing, expressive actors, and writer-director Gina Prince-Bythewood (Love & Basketball) lets them breathe, filling in the boilerplate bones of the story with smartly nuanced commentary.

Top Trailers