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. Z for Zachariah
    The lack of drama and heat keeps Z for Zachariah joyless without much despair. It’s the end of the world as we know it, and you’ll feel bored.
  2. Queen of Earth
    The result is chilling and beautifully composed, a stylish study of disintegration that is easier to admire than enjoy.
  3. We Are Your Friends
    The film fakes emotion with flashing lights and a pulsing soundtrack, and before Cole realizes the music was in him this entire time (ugh), the story falls flat
  4. No Escape
    Even ignoring the racism — which is pretty much impossible — No Escape is a cliché-ridden, artless relic.
  5. Hitman: Agent 47
    In this post-"Mad Max: Fury Road" action movie age, “occasionally bonkers” just doesn’t cut it anymore.
  6. Sinister 2
    Sinister 2 doesn’t know what it wants to be, and doesn’t add up to much.
  7. People Places Things
    Even though there’s not a lot to Jim Strouse’s new relationship comedy, it has a real warmth and charm thanks to the undeniable appeal of comedian Jemaine Clement.
  8. Grandma
    Sam Elliott, Marcia Gay Harden, and Judy Greer supply sharp cameos, but this is Tomlin’s movie, and she obliges with a spiky, refreshingly unvarnished performance.
  9. She's Funny That Way
    She’s Funny That Way is posted as a love letter to the classic screwball comedies of Hollywood’s golden age, but delivers ersatz Woody Allen instead; it’s like "Bullets Over Broadway" minus the mob plot and 90 percent of the charm.
  10. The Boy
    The film’s biggest flaw is that there’s never any doubt about where Ted is going to end up.
  11. Meru
    Meru the film, then, might be the anti-Everest. There are no expensive special effects, but there is a lot of authentic climbing footage.
  12. Mistress America
    Noah Baumbach’s latest wisp of privileged New York whimsy vaporizes on arrival.
  13. Digging for Fire
    What starts off as a promising indie about a couple (Jake Johnson and Rosemarie DeWitt) trying to balance their own needs versus their partner’s quickly goes south in director Joe Swanberg’s latest meditation on aging-hipster malaise.
  14. American Ultra
    Check your brain at the popcorn-butter pump in the lobby and enjoy it.
  15. The Man from U.N.C.L.E.
    The early-’60s styles are chic, the Euro locales are swank, and the music cues (including a nod to Ennio Morricone’s Once Upon a Time in the West score) are fantastic. Too bad the plot and the lead performances are so lifeless.
  16. Fantastic Four
    In short, this Josh Trank-directed reboot had a very low hurdle to overcome to become the best FF movie so far. The most fantastical aspect of the movie is that it may not achieve that goal.
  17. The Diary of a Teenage Girl
    As unsettling as Marielle Heller’s feature-film debut can be — there are moments you’ll ache for Minnie and other ones where you’ll want to lock her away — it rings much truer than most coming-of-age stories.
  18. Kahlil Gibran's The Prophet
    Gibran’s little life lessons have been turned into three-minute haiku by different animators and spread across the film. Each one soars (especially clay painter Joan Gratz’s color-bursting snippet, “On Work”), even if the plot holding them together is frustratingly Disneyish.
  19. Cop Car
    Cop Car feels like a great short stretched into a mediocre feature.
  20. The Runner
    The Runner is a well-meaning character study with an admirably cynical ending, but it’s too cold to ever fully draw you in.
  21. Straight Outta Compton
    Straight Outta Compton is a hugely entertaining film that works best if you don’t look at it too closely and just listen.
  22. The Gift
    The real joy of The Gift is getting to that twisted goodness, because more than anything, Edgerton’s script and direction demonstrate a keen understanding of tension and what puts an audience on edge.
  23. Dark Places
    It’s never pushed far enough. Instead, Dark Places just becomes an overstuffed, low-simmer potboiler with too many improbable detours and overly convenient twists.
  24. Ricki and the Flash
    Director Jonathan Demme and screenwriter Diablo Cody, both Oscar winners, have made far better films. Still, Ricki raises smart questions about why a mother’s musical ambitions are so much more selfish than, say, seven-time dad Mick Jagger’s.
  25. Listen to Me Marlon
    A wondrously sly, moving, odd portrait—perfectly befitting its subject.
  26. Two Step
    Writer-director Alex R. Johnson’s feature debut uses Southern Gothic simmer to heat up what is otherwise a typical gun-and-bag-of-money crime tale, though Hébert’s terrifyingly electric performance keeps the heat turned up enough to make the bloody climax feel like relief.
  27. Extinction
    Director Miguel Ángel Vivas tries to add a family-drama twist to an otherwise standard survival story, but the characters aren’t complex enough (and the secrets aren’t explosive enough) to elevate this beyond a basic zombie flick.
  28. I Am Chris Farley
    The film—skillfully helmed by Brent Hodge and Derik Murray and featuring talking-head testimonials from family members, friends, and costars such as Mike Myers and Bob Odenkirk—heralds "Tommy Boy" as definitive and notes how winning a romantic lead Farley is in "Coneheads".
  29. The End of the Tour
    Like "Almost Famous," Ponsoldt’s film gets at something deep and true about the journalist/subject dynamic and the phony intimacy and tiny betrayals implicit in it. It’s a profoundly moving story about a towering talent who seemed to feel too much and judge himself too harshly to stick around for long. What a shame.
  30. Shaun the Sheep Movie
    In a bold move that pays off, the movie jettisons dialogue altogether and tells its whole story through barn-animal noises, goofy sound effects, and sight gags so silly they’d make Benny Hill spin in sped-up ecstasy. The effect is contagiously cute.
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