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. Wildling
    A clever, sharp-fanged mélange of classic midnight-movie horror and modern indie ingenuity.
  2. Come Sunday
    Ejiofor’s performance make the movie; the rest, you may just have to take on faith.
  3. Rampage
    It never makes up its mind whether it wants to be a what-hath-science-wrought disaster movie like those old John Sayles cheapie classics Piranha and Alligator, or just a big, dumb, and loud tongue-in-cheek action comedy. It’s a movie that’s afraid to pick a lane.
  4. Blumhouse's Truth or Dare
    Hale and Posey are likable leads and director Jeff Wadlow (Kick-Ass 2) injects proceedings with a propulsiveness which allows you to mostly ignore the odd plot strand which doesn’t really pay off or the general air of preposterousness.
  5. Beirut
    The performances are strong and the story is absorbing; a smart diversion for adult attention spans.
  6. Chappaquiddick
    What the movie doesn’t do, until it’s nearly over, is make any real case for why so much of America continued to put their faith in Kennedy long after the facts of the case were revealed.
  7. Blockers
    Sure, showing that girls can be as horny and impulsive and raunchy as guys isn’t exactly the most radical statement. But when it’s done this well, it certainly is a welcome change-up.
  8. The Endless
    Benson and Moorhead masterfully ratchet up the sense of unease, before the third act takes a turn for the truly terrifying.
  9. Tyler Perry's Acrimony
    The 20 or so minutes we get of Henson’s rage are not enough to warrant the title or the ticket price.
  10. A Quiet Place
    When A Quiet Place has one finger on the panic button and the other on mute, it’s a nervy, terrifying thrill.
  11. Outside In
    Shelton may not be as prolific as the Duplasses (I’m not sure anyone could be – they seem to churn out movies in their sleep), but her work has steadily gotten more assured and quietly powerful. Her continued partnership with the brothers is a tonic for anyone who cares about keeping the Sundance-of-the-‘90s spirit alive.
  12. Finding Your Feet
    Finding Your Feet leans heavily on its cast of British screen greats. Luckily, Staunton, Imrie, Spall, Lumley et al are up to the task of dancing around most of the plot’s more tired or ill-considered moments.
  13. Ready Player One
    Never mind the director’s still-prodigious work ethic, the big-screen adaptation of Ernest Cline’s giddily overstuffed, ’80s-saturated best-seller is, in a way, a movie that couldn’t be more bespoke to Spielberg. After all, so many of that decade’s most indelible touchstones poured directly from his brain. It’s the perfect marriage of fabulist and fable.
  14. Gemini
    All style and mood, signifying not much.
  15. Final Portrait
    With its de-saturated grays and layered textures, Final Portrait itself is like a still portrait of Giacometti. You, as the viewer, are lucky just to get to spend time with these men during twenty or so days in their lives, privileged to be allowed inside Giacometti’s studio, watching the painting come together.
  16. Sherlock Gnomes
    Sherlock Gnomes doesn’t quite have the originality and spark to make it a pop-culture phenomenon. Yet it’s still an enjoyable family adventure with a solid message.
  17. Isle of Dogs
    The movie’s darker allegory of persecution and internment isn’t hard to miss, though, and the dogs themselves, with their tactile tufts of fur and Buster Keaton eyes, have an endearing, complicated humanity.
  18. Pacific Rim: Uprising
    If you enjoyed 2013’s Pacific Rim but secretly wished it was more like a vapid Transformers sequel, then you’ll love Pacific Rim Uprising. Everyone else can give this heavy-metal howler a hard pass.
  19. 7 Days in Entebbe
    The film comes to crackling life during the planning and climactic execution of the raid. And Padilha, the Brazilian director behind 2007’s "Elite Squad," knows how to stage these white-knuckle sequences, especially when he cuts back and forth between the on-the-ground tactical assault and a modern dance performance featuring one of the commando’s girlfriends.
  20. Love, Simon
    There’s some real, weird fun in secondary characters like Tony Hale’s desperate-to-be-down principal, Natasha Rothwell’s exasperated drama teacher, and Logan Miller’s Martin, a theater kid so eager to please he practically turns himself inside out.
  21. Tomb Raider
    Uthaug also manages to work in a few genuinely cool visual tricks, though the dialogue, from a serviceable script by Geneva Robertson-Dworet and Alastair Siddons is strictly standard; a mix of clunky action-movie exposition and winking Indiana Jones-style humor.
  22. The Leisure Seeker
    When a sunset romance does come along, you can’t help but root for it. Which is why it gives me no joy to report that The Leisure Seeker is pretty disappointing.
  23. The Strangers: Prey at Night
    Two films in, The Strangers has already become a horribly familiar franchise.
  24. The Death of Stalin
    Despite the rich settings and crowded cast, the film can’t help feeling a little airless too: These players aren’t history’s masterminds, they’re wasps trapped in a jar, bumbling against the glass in sting-or-be-stung chaos.
  25. Thoroughbreds
    What begins as a gleefully nasty piece of work gradually picks up more nuance as it goes, adding dimensions to characters who could easily have coasted on the story’s arched-eyebrow burlesque.
  26. Gringo
    While the fish-out-of-water caper is stuffed with whiplash turns and colorfully eccentric lowlife characters, it never adds up to much. It’s so busy you might think there’s more to it than they’re really is.
  27. A Wrinkle in Time
    A Wrinkle in Time hits that unfortunate un-sweet spot common to big-budget science-fiction/fantasy, where the spectacle feels more summarized than experienced.
  28. Death Wish
    Eli Roth’s Death Wish isn’t a bad movie as far as super-violent exploitation flicks go. But it is a deeply problematic one. And that problem boils down to this: It’s the absolute wrong movie at the absolute wrong time.
  29. Mute
    The one thing Mute has going for it is Jones’ vividly imaginative sense of world-building. Like Ridley Scott with "Blade Runner," he fills every corner of the screen with something cool to look at.
  30. Annihilation
    It’s the kind of film that leaves you dazzled and a little shell-shocked — and not entirely sure whether your own moviegoing DNA hasn’t been altered a little in the process.
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