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. No Good Deed
    There's an intriguing premise buried in there that could have resulted in a smart look inside the mind of a malignant narcissist (which, the movie reminds us over and over again, was Jeffrey Dahmer's diagnosis too).
    • 69 Metascore
    • 75 Critic Score
    The Drop
    While Gandolfini fills in the gaps and silences, Rapace never colors in her underwritten character, making her a glorified MacGuffin who hangs around far too long.
  3. The Disappearance of Eleanor Rigby: Them
    Disappearance is worth watching for Chastain's fierce performance as a woman swallowed up by bone-deep grief. If we can feel exactly what Eleanor is feeling, maybe we're not so alone after all.
  4. Tracks
    What's on screen will leave you in a state of wonder. The sweeping cinematography surveys the cracked earth and Davidson's chapped skin with equal intensity, as if to remind us how vulnerable we puny mortals are.
  5. No No: A Dockumentary
    The fact is, Dock Ellis was...complicated. Probably a lot more so than No No makes him out to be.
  6. Kelly & Cal
    The biggest takeaway from Kelly & Cal, a wonderfully honest and tender film about the bitter pill of adulthood, is Hollywood's criminal underuse of Juliette Lewis.
  7. The Skeleton Twins
    It's a shockingly vulnerable performance (Hader), one of the best I've seen all year.
  8. As Above, So Below
    Like other movies of its ilk, it's missing a very simple bit of next-level Hollywood technology: a tripod.
  9. The Calling
    The Calling shares a little too much with atmospheric TV mysteries like "The Killing" and "Broadchurch": the hard-living female detective, the cloudy weather, the small-town existentialism.
  10. The Congress
    Ari Folman's meta-commentary on Hollywood in the soulless digital age starts off promisingly, like a Charlie Kaufman mind scrambler. But then it spirals into logy animated nonsense.
  11. Starred Up
    Like Eric Bana's menacingly raw breakout in 2000's "Chopper" or Tom Hardy's in 2008's "Bronson," O'Connell bristles with terrifying hair-trigger unpredictability. Watching him, you feel like you're witnessing the arrival of a new movie star.
  12. The November Man
    The utter lack of originality eventually sinks the movie.
  13. If I Stay
    If I Stay never bothers to go after authenticity when there's a cliché hovering nearby. That may not be enough of a drawback to prevent teenage audiences from lapping up the movie with a spoon, but they certainly deserve better.
  14. Sin City: A Dame To Kill For
    The overall effect is less titillating than numbing.
  15. Abuse of Weakness
    Huppert is a wonder, inhabiting every iota of rage and froideur and helplessness; if only the movie's motives were as lucid as her performance.
  16. The One I Love
    Charlie McDowell's romantic brainteaser is disarmingly clever — too clever to spoil. But it's also repetitive and a bit too Spike Jonze lite.
  17. Coldwater
    The best thing about it is its star, P.J. Boudousqué, who locates a sense of terror and betrayal that the script lacks.
  18. Let's Be Cops
    If Let's Be Cops were content to be simply an unfunny genre exercise, it would be easy to dismiss it and move on. But the sting of astoundingly ill-advised sexism and homophobia is harder to shake.
  19. The Expendables 3
    So let me just say that this latest rah-rah red-meat installment is the biggest and best surprise of the series. It has its flaws, but it's mostly a big, dumb, gruntingly monosyllabic hoot.
    • 47 Metascore
    • 42 Critic Score
    The Giver
    It falls apart with a slapdash final act that doesn't work as drama or action and only serves to undermine Jonah's heroics.
  21. Are You Here
    In Mad Men mastermind Matthew Weiner's big-screen directorial debut, the aggressively unfunny Are You Here, all of the dark humor and delicate character shadings we're used to seeing on his TV series are conspicuously absent. He's swapped nuance for blunt-edged numskullery.
  22. The Trip to Italy
    While this sequel lacks the novelty of the first course, it's just as soulful and silly.
  23. Life After Beth
    The premise would make for a great Funny or Die video, but stretched out to feature length, it runs out of ideas pretty quickly. Still, Plaza is terrific. She commits so fully to her rabid, Romero-esque alter ego, she chews the movie up.
  24. Love Is Strange
    Sachs, Molina, and Lithgow have given adult moviegoers a perfect piece of summer counterprogramming — a warm, humane, resplendent romance to savor while our days are still long.
  25. Step Up: All In
    The space between the spectacles are just too laborious, creating the odd sensation that there's not quite enough dance in this dance movie.
  26. Teenage Mutant Ninja Turtles
    Turtles is head-and-shell better than "Transformers." Cowabunga?
  27. The Hundred-Foot Journey
    I never entirely bought the flirty détente between the two or believed in the rapturous power of a perfectly cooked sea urchin to solve the world's problems. But for two hours, at least, I swallowed it with a smile.
  28. What If
    An unctuous rom-com that runs its characters through every plastic cliché of a pre-Oscar McConaughey vehicle, ultimately causing us to root against the vacuous couple and their predetermined happy ending.
  29. Guardians of the Galaxy
    The film's a giddily subversive space opera that runs on self-aware smart-assery.
  30. Get On Up
    Get On Up too often plays it safe when it needs to be dangerous.
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