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. Thanks for Sharing
    This tone-deaf misfire can't decide whether it wants to be a broad comedy doling out raunchy slapstick laughs or a serious drama about our porn-saturated age of sensory overload.
  2. Enough Said
    It shows us how rare love is — and how we need to grab it and not let it go.
  3. Rush
    Rush hits a few potholes, but in the end it reveals the psyches of two men who only feel alive when they're cheating death.
  4. Prisoners
    The thriller that's exciting, cathartic, and powerfully disturbing. Prisoners is that type of movie. It's rooted in 40 years of Hollywood revenge films, yet it also breaks audacious new ground.
  5. Touchy Feely
    Touchy Feely is minor, but these people are good company.
  6. Adore
    Adore has the distinction of featuring some of the most laughable dialogue in any movie this year.
  7. All the Boys Love Mandy Lane
    Mandy Lane does eventually build to a whiplash twist ending, but it's too little, too late — much like the film itself. Here's a case where the backstory is more interesting than the movie.
  8. Riddick
    At a time when the budgets for sci-fi films are, like the universe itself, expanding at an astronomical rate, Riddick decides to go small.
  9. Getaway
    You will still be astonished by how flat-out awful it is.
  10. Passion
    Passion turns into vintage De Palma — which is to say, the film seems almost engineered to get you giggling at the extravagance of its absurdity. Any enthusiasm in the viewer is bound to be a shadow of the film's passion for itself.
  11. One Direction: This Is Us
    We're treated to what's essentially a slick, airbrushed promo reel of a bunch of genuinely sweet superstars who can't believe their dumb luck. That's charming. But it's also a little boring. What it's most definitely not is a documentary.
    • 40 Metascore
    • 50 Critic Score
    Salinger
    At two hours and nine minutes, Salinger is at least 40 minutes too long, suffering, just like the book, from its creators' obsessive zeal. Only here, you can't page ahead to the next chapter.
  13. Closed Circuit
    It has a chillingly matter-of-fact cynicism that is very au courant.
  14. The Grandmaster
    Tony Leung plays Ip Man with his old-movie charisma and reserve, but the film, despite a few splendid fights, is a biohistorical muddle that never finds its center. Maybe that's because — big mistake! — it never gets to Bruce Lee.
  15. Short Term 12
    Brie Larson, as the caring but tormented Grace (who's pregnant and doesn't know if she has the faith to have her baby), and John Gallagher Jr., as her gentle-dweeb fellow worker Mason (who fears his love can't save her), show you what emotionally naked acting is all about.
  16. Drinking Buddies
    The actors all blend terrifically, making this the film equivalent of great hang time.
  17. You're Next
    It's so deliciously twisted, it will make you walk out of the theater feeling like you just endured a grueling, giddy workout.
  18. The World's End
    As in their previous comedies, Pegg and Frost play men who refuse to stop acting like boys. But these pint-swilling Peter Pans also know how to work the heart and the brain for belly laughs.
  19. The Mortal Instruments: City of Bones
    Make no mistake, there will be a sequel. Clary may not wind up having the same pop-culture impact as Bella and Katniss, but like it or not, this won't be the last time you hear from her.
  20. Paranoia
    The only real reason Paranoia is even remotely worth watching is the chance to see Oldman and Ford go head-to-head like two vipers thrown into a potato sack.
  21. Kick-Ass 2
    Moretz, who is 16 now, can't manufacture the same that's-so-wrong jolt she managed the first time around. Back then, it was hilariously taboo to see a little girl spout arias of profanity. Now, she's just another teenager swearing. Like the rest of the film, what was once shocking now just elicits a shrug.
  22. Austenland
    Austenland is kind of a one-joke movie, and the film's rhythm is a bit flaccid, but the joke, at least, has a twinge of wit.
  23. Jobs
    The ironic thrust of the movie is that Jobs' humanity is there in that perfectionistic insanity. He pushes and pushes to make home computers more and more appealing, accessible, and user-friendly, and that's his great gift to the world.
  24. Percy Jackson: Sea of Monsters
    Sarcastic quips and cynical attitudes abound, maybe as a way for the movie's makers to telegraph that they know this is all just so much kid stuff. But if the characters can't muster genuine awe for their adventure, it's a tall order to ask us to do it for them.
  25. Lee Daniels' The Butler
    As Cecil, Whitaker is mesmerizing. The actor seems to shrink into his imposing frame, summoning a performance of quiet, bottled-up force.
  26. Lovelace
    Seyfried works hard for your empathy, with the same naïveté that helped secure Boreman's rep as the ''sexy Raggedy Ann.'' And Sarsgaard is perfect for this role, oozing '70s sleaze in all its mustache-smoothing glory. But even they can't add depth to this sad story.
  27. Planes
    What Planes lacks in novelty, it makes up for with eye-popping aerial sequences and a high-flying comic spirit.
  28. Elysium
    I wish that the film had more of the tasty futuristic detail promised by that dummy parole officer. I also wish that Blomkamp took us deeper into the world of Elysium.
  29. We're the Millers
    While Aniston shows that she's as deft on a stripper pole as she is with her sitcom-honed timing, Sudeikis wields his smart-ass sarcasm like a barbed weapon. And more often than not, it kills.
  30. The Canyons
    Schrader tries to find the human side of it all, and he scores with Lohan, who taps a vulnerability beneath her dissolution to remind you why she's still a movie star.
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