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. Best of Enemies
    This deliciously feisty doc contextualizes their verbal brawls and the odd love-hate (mostly hate) rivalry between two men who seemed able to regard their own sense of heroism only through the other’s villainy.
  2. Vacation
    What’s missing is the pent-up anger that simmered behind Chevy Chase’s doofus grin. His Clark was always on the verge of a nuclear-family meltdown. Helms lacks Chase’s passive-aggressive edginess.
  3. Samba
    Samba finds a much stronger rhythm when it stops contriving and simply shines a light on the joy and pain (and musical interludes) of lives lived in the margins.
  4. Unexpected
    Unexpected isn’t particularly interested in driving the plot forward or holding its leads up as avatars for a cinematic lecture on poverty and white privilege. Instead, it just lets them live and breathe and make mistakes — not for the aim of any greater message or grand epiphanies, but because that’s what people do.
  5. The Vatican Tapes
    The Vatican Tapes is basically “Exorcism’s Greatest Hits” played by a schlocky cover band.
  6. Paper Towns
    The real joy of Paper Towns is the interplay among Wolff, Abrams, Smith, and eventually Halston Sage and Jaz Sinclair as Margo’s best friend and Radar’s girlfriend.
  7. Irrational Man
    Allen isn’t completely on autopilot here. There are a couple of sharp, sting-in-the-tail twists near the end, and Phoenix is at least interesting. But Irrational Man would be lesser Woody even if we hadn’t seen most of it before.
  8. Mission: Impossible - Rogue Nation
    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.
  9. Phoenix
    The plot is just implausible enough to keep the film from greatness, but director Christian Petzold (Barbara) stirs up a powder-keg metaphor about rebuilding after war.
  10. Pixels
    Neither Sandler nor his listless writers (too many punchlines just sit there and collect flies) seem invested. Whether he’s saving the planet or putting the moves on Michelle Monaghan, Sandler can’t be bothered to raise his pulse above comatose. If he doesn’t care, why should anyone else?
  11. Southpaw
    Gyllenhaal’s Southpaw performance is great, but for reasons unrelated to his physique. He’s thrilling to watch and the only unpredictable thing in a two-hours-plus movie where you can count on one hand the number of moments that aren’t hand-me-downs from better boxing films like "Rocky," "Raging Bull," and "Fat City."
  12. Trainwreck
    Beneath all of his bad-boy shtick, Apatow’s always been a pretty conventional moralist. But Schumer gives their raunchy rom-com enough of her signature spikiness to prevent it from ever feeling predictable.
  13. Hippocrates: Diary of a French Doctor
    A sobering look at the bureaucratic trials and life-and-death decisions rookie doctors face on their daily rounds.
  14. The Gallows
    This is another found-footage movie that, with a little art direction and some actual cinematography, could easily have been a decent little terrorizer. Instead, it comes mostly unglued thanks to its hacky gimmick.
  15. Ant-Man
    Reed and Rudd's film is proof that no matter how silly some ideas sound at first, good things often do come in small packages.
  16. Tangerine
    Tangerine is touching for its non-condescending stance toward working girls and the spirit of the sidewalk.
  17. 10,000 km
    It’s a decent critique of romance in the digital age—until you realize how boring it is to watch people break up on Facebook.
  18. Self/less
    Self/less’ greatest crime is that it’s not enough of anything: Not brainy enough to party with the theories about consciousness that Ex-Machina delivered earlier this year, nor is it over-the-top enough to compete with the campy goofballery of something like Limitless.
  19. Magic Mike XXL
    Director Gregory Jacobs worked under original Magic Mike helmer Steven Soderberg for years, but sadly he has almost none of his former boss’s ability to elevate material that is essentially one lamé thong away from a TLC reality series.
  20. Terminator Genisys
    The story isn’t just confusing, it’s a betrayal to anyone who’s invested brain cells in the Terminatorverse over the past 31 years.
  21. Fresh Dressed
    Midway through, the narrative gets a little bogged down in the details of retail; still, Fresh is a colorful, comprehensive trip.
  22. Minions
    If Minions were a toy, you’d hide its batteries.
  23. Ted 2
    The sequel still manages to walk the tightrope between clever and crass. For a while, at least.
  24. What Happened, Miss Simone?
    An excellently clear-eyed primer on the woman whose talent carried her from an impoverished childhood in Tryon, N.C., to the world’s most rarefied stages—and whose political defiance nearly ended her career.
  25. Balls Out
    There’s some chuckleworthy meta-commentary about the absurdity of sports movies, but Balls Out feels more like a long sketch than a feature.
  26. Inside Out
    There’s enough slapstick and silliness to keep kids entertained.... But the film also has a bittersweet streak about the loss of innocence and the fleetingness of childhood.
  27. The Wolfpack
    As the film goes on, their rebellious thirst for freedom and independence slowly builds to a physical and psychological emancipation that Moselle never quite follows through on. Still, she’s discovered a stunning, stranger-than-fiction story and tells it with sensitivity, intimacy, and compassion.
  28. Me and Earl and the Dying Girl
    Somewhere along the way Earl eases up on the suburban–Wes Anderson whimsy and starts to find its heart, infusing the story’s self-conscious cleverness and trick-shot set pieces with something sweeter, sadder, and even a little bit profound. In other words, it grows up.
  29. Jurassic World
    Jurassic World is a blockbuster of its moment. It’s not deep. There aren’t new lessons to be learned. And the film’s flesh-and-blood actors are basically glamorized extras. But when it comes to serving up a smorgasbord of bloody dino mayhem, it accomplishes exactly what it sets out to do beautifully.
  30. Insidious: Chapter 3
    Insidious Chapter 3 is the worst kind of sequel: Not terrible, but also cartoonishly unnecessary.
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