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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    • 68 Metascore
    • 25 Critic Score
    Maps to the Stars
    The goal here is cynical satire. The result, sadly, is just a yawn.
  2. All the Wilderness
    Yes, writer-director Michael Johnson cranks the Malick meter up to 11 in this sensitive coming-of-age drama.
  3. Wild Tales
    Damián Szifron’s Wild Tales almost feels too audacious, too crazy, and, in some ways, too slight for the Oscars.
  4. Accidental Love
    The race for the worst film of 2015 is officially on.
  5. Hot Tub Time Machine 2
    It’s a comedy that’s so witless and unfunny and shoddily made it makes "The Hangover 2" look like "The Godfather 2."
  6. The DUFF
    As misspent of an opportunity as The DUFF may be, it’s hard to completely dismiss a film that gives someone as talented as Whitman her long-overdue spotlight.
  7. What We Do in the Shadows
    What ends up carrying the movie is the sweetness of the characters, especially the lovelorn Viago and Stu (Stu Rutherford), the one human the group won’t eat because he’s genuinely just a good dude.
  8. Kingsman: The Secret Service
    Speaking of young men, newcomer Taron Egerton, playing Harry’s protégé, delivers a star-making performance flush with the kind of charm and unexpected gravitas that no amount of flashy filmmaking can fake.
  9. Fifty Shades of Grey
    I spoil nothing by reporting what readers already know, that when Fifty Shades is not a dirty story, it is, as the trilogy unfolds, a study in cartoonishly weird family dynamics.
  10. Jupiter Ascending
    Jupiter Ascending’s early cleverness dries up quickly, especially when Kunis is offscreen, leaving us with just another incoherent sci-fi spectacle.
  11. 1971
    Now, in Johanna Hamilton’s fiery truth-to-power documentary, those gray-haired agitators finally step out of the shadows to explain what they did and why they did it (with the help of some slightly hokey dramatic reenactments). Their message—namely, Who will watch the watchmen? — remains as important today as it was 44 years ago.
  12. Seventh Son
    (Bridges) has a tendency to make mistakes, especially when it comes to science fiction and fantasy titles. He has followed up the minor disasters that were "R.I.P.D." and "The Giver" with Seventh Son.
  13. Wild Card
    Stanley Tucci, Hope Davis, Anne Heche, and Sofia Vergara all pop up in glorified cameos and give the movie more fizz than their roles require. Which begs the question: Why would they sign on for such thankless, bite-size roles?
  14. Mortdecai
    The movie is too odd and randy to play for kids on an Austin Powers level, and too broad to really work as farce. But Depp, god bless him, fully commits, and finds a few genuinely funny moments amidst all the outsize mugging and mild sociopathy.
  15. Mommy
    It taps into every parent's worst nightmare — the horror of being unable to protect an out-of-control child.
  16. Red Army
    Thanks to Gabe Polsky's enthralling new documentary, we finally get to see these athletes for who they really were—it humanizes a group of men who were cast by history in the role of villains.
  17. The Boy Next Door
    Boy's premise reeks of stalker-movie mothballs, and it's too timid to fully dive into the high camp it hints at. Instead, this cookie just crumbles.
  18. Cake
    Aniston works so hard to avoid sentimentality that it's disappointing when it creeps into the film. Director Daniel Barnz casts everything in a blue-yellow light that oversells the melancholy mood.
  19. The Wedding Ringer
    The Wedding Ringer is such a crudely edited, slapdash affair it often forgets about the characters it has introduced — especially the women.
  20. Vice
    Everything about Vice feels like recycled goods. It's basically "Westworld" meets "Blade Runner" programmed by glitchy filmmaking replicators.
  21. Still Life
    The plot begs for a jolt of the Charlie Kaufmanesque — it's so pillow-smothered by tedium that even the uplift of magic realism in the film's final shot seems cold and stiff.
  22. Son of a Gun
    Son of a Gun becomes a somewhat predictable but excitingly twisty heist film involving a double-dealing Russian heavy, a desperate femme fatale, and a fortune in gold bars. It has just enough muscle and style to make the familiar feel fresh.
  23. Loitering with Intent
    A snappy start gives way to an unfocused second half, which devolves into a walking tour of indie-film clichés that make the 80-minute run time feel overlong.
  24. Paddington
    Paddington is fast-paced yet unhurried, serving up surprisingly subtle ideas on melting-pot urban diversity—Paddington is a stranger in a strange land, after all—and rich visual tableaux, including a gorgeous recurring shot of the Brown home as a living dollhouse.
  25. Still Alice
    Going on 20 years now, Moore is someone who's been so reliably good for so long that we've probably taken her for granted. But her subtle, heartbreaking decline as Alice—from her initial diagnosis to her daily struggle to hold on to her identity and dignity to her eventual disappearance in plain sight—is among her most devastating performances.
  26. Blackhat
    Occasionally, Mann shows flashes of the sort of springloaded action set pieces he was once hailed for, like a shoot-out during a religious parade. But mostly they just come off as warmed-over parodies from a onetime master aping his own style.
  27. Beloved Sisters
    It only makes you wish for the unintellectual bodice ripper that the movie should have been.
  28. Free the Nipple
    Sound titillating? It's not.
  29. If You Don't, I Will
    A quiet, intermittently poignant portrait of two people who've lost each other and aren't sure they want to find their way back.
  30. Predestination
    Predestination's pace is too slack, and the brothers are so painfully tentative as storytellers that the easily guessed big twist gets three separate reveals.
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