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. Cold in July
    Johnson ties some of the film's looser ends together and makes you overlook the ones that stay untied. Between "Eastbound & Down," "Django Unchained", and now Cold in July, Johnson has a nice little streak going of turning seemingly disposable characters into indelible scene-stealing rascals.
  2. X-Men: Days of Future Past
    Not surprisingly, the best thing about Days of Future Past is that it's heavier on the days past than future.
  3. Million Dollar Arm
    It's the latest male weepie cast from the same Disney mold as "The Rookie and "Miracle," and it's essentially "Jerry Maguire Goes to Mumbai."
  4. Godzilla
    He doesn't seem too interested in his actors — they're more plodding than their reptilian costars and you don't care about a single one of them — but Edwards does know how to fashion some serious monster mayhem.
  5. Legends of Oz: Dorothy's Return
    There's barely a trace of the magic of 1939's "The Wizard of Oz"; the bricks are still yellow, but the road doesn't lead anywhere special.
  6. Moms' Night Out
    It's a shame that this glossy production doesn't seem to realize it's actually promoting an altogether different message: when moms dare to leave the house, everything goes wrong.
  7. Stage Fright
    It’s half "Friday the 13th," half "Phantom of the Paradise," and just cheesy enough to work.
  8. God's Pocket
    In one of his final roles, Philip Seymour Hoffman stars as a man whose no-good stepson is killed on a construction job, while John Turturro, Richard Jenkins, and Christina Hendricks round out a formidable cast that isn’t given much to work with.
  9. Fed Up
    Some lessons are overfamiliar (almonds good, corn syrup bad), but the section on corporate influence over school lunches is enough to make you spit out that 20-ounce soda from the concession stand.
  10. The Double
    Director Richard Ayoade (Submarine) gets a huge impact from minimal expressionist sets, but the thin story — loosely based on Dostoyevsky’s 1846 novella — plays like a pale reflection of a more exciting tale.
  11. Devil's Knot
    The movie doesn’t grab you emotionally, but director Atom Egoyan (Exotica) teases apart the case’s details with grim fascination.
  12. Chef
    The first two thirds of Chef crackle with hunger-inducing imagery and laughter-provoking gags.
  13. Neighbors
    Speaking in her native Aussie twang, Byrne shows that she's a deadpan comic ace. And thanks to her chemistry with Rogen, Neighbors proves that just because you grow up doesn't mean you have to be a grown-up.
  14. Walk of Shame
    A lumpy and laughless farce from writer-director Steven Brill (Drillbit Taylor, Little Nicky), a man who never told a joke he couldn't ruin.
  15. Bad Johnson
    The jokes are flaccid, the acting is stiff, and the whole idea is such a boner, you have to wonder if the writer was missing another critical organ when he came up with it.
  16. Ida
    With her brassy, determined aunt, Ida sets off to find answers and discovers life beyond the convent walls in this leisurely but satisfying journey.
  17. For No Good Reason
    The British illustrator’s process of creating his surreally deranged, truth-to-power cartoons is fascinating, but the rest of the film lacks the same mad spark.
    • 59 Metascore
    • 58 Critic Score
    For a Woman
    The acting is largely irreproachable, but the direction is leaden, and the movie just can’t overcome its clunky framing device and nagging air of inauthenticity.
  19. Beneath the Harvest Sky
    The film’s first half feels almost as directionless as its characters, but the detailed specificity of the milieu and story proves engrossing.
  20. The Protector 2
    Thai martial-arts maestro Tony Jaa’s newest film overloads on terrible F/X that rob the film of the actor’s usual brute-force balleticism.
  21. Belle
    Like "Downton Abbey" but with corsets, culottes, and tricorn hats, Belle subtly skewers the absurd rules and hypocrisies of class. But the real takeaway is Mbatha-Raw. She makes a case for why she ought to be a star.
  22. The Amazing Spider-Man 2
    It's a Marvel spectacle that manages to deftly balance razzle-dazzle, feel-it-in-your-gut slingshot moments of flight and believable human relationships. There's psychological weight to go with all of the gravity-defying, webslinging weightlessness.
  23. The Other Woman
    This one has its own wonky charm and intermittent moments of genuine, depraved hilarity; it's like "Bridesmaids" drawn in crayon.
  24. The Quiet Ones
    Aside from a few cheap but effective shocks and jumps, there's nothing here that horror fans haven't seen in better recent films like "The Conjuring." Not to mention all of those wonderful Hammer films from the '50s and '60s.
  25. Brick Mansions
    It's fun to watch at first. All that twirling and sliding is a nice change of pace from the usual seat-shaking pyrotechnics.
    • 62 Metascore
    • 83 Critic Score
    The German Doctor
    The family he preys on is a tad too unsuspecting to be believable, but the film still hits notes of deep tension. And the cast is superb, especially Àlex Brendemühl as the “Angel of Death” himself.
  27. Bright Days Ahead
    The script is wispy, but the performances (including Patrick Chesnais as Caroline’s prideful, devastated husband) shine.
  28. Blue Ruin
    With the same brand of realist irony the Coens used to cool down "Blood Simple," writer-director Jeremy Saulnier slows the genre’s heartbeat to gripping effect.
  29. A Promise
    It’s well made but drearily familiar.
  30. Young & Beautiful
    Young & Beautiful, with its barrage of fairly graphic sex scenes, is a throwback to the erotically charged, envelope-pushing Euro art-house films of the '60s and '70s such as Blow-Up and Last Tango in Paris.
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