Entertainment Weekly's Scores

For 6,221 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 3.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Crouching Tiger, Hidden Dragon
Lowest review score: 0 88 Minutes
Score distribution:
6221 movie reviews
  1. It’s the quiet, simple moments between Olli and Raija that stick with you, whether he’s giving her a ride on the handlebars of his bicycle on their way to a country wedding or skipping stones across the smooth surface of a lake.
  2. Even lush set pieces and a raft of prestige players (including Shohreh Aghdashloo, James Cromwell, and Jean Reno) can’t fulfill the movie’s pretty, ultimately empty promise.
  3. Cedar has created a classic cautionary tale in Norman, and Gere flawlessly turns his tragic hero into someone who’s sympathetic and human.
  4. The movie Tokyo-drifts into tedium in its more chaotic, casually gruesome chase scenes, and the “serious” dialogue is so consistently clunky it feels like it’s been carved from woodblocks with a dull butterknife. Thankfully, it’s frequently also much funnier and lighter on its feet than previous outings, and a lot of that credit goes to Statham and Johnson.
    • 40 Metascore
    • 42 Critic Score
    A saccharine fantasy-adventure that’s sure to tide the tots over until a shinier one (Cars 3, anyone?) comes along to take its place.
  5. A lazy hash of cheap geezer gags and spoon-fed sentiment.
  6. In Salt and Fire, a bad movie but an intriguing vacation slideshow, Michael Shannon and Veronica Ferres play “characters” (unconvincing, undimensional) and speak “dialogue” (expository, flat).
  7. In the end, what should be a three-hankie, ugly-cry tearjerker feels unnuanced, overplotted, and mechanical. Frank and Mary deserved better.
  8. Even if the script’s psychological reach ultimately falls short, Colossal is still a clever, comic, wildly surreal ride — right up until the last sucker-punch frame.
  9. Like many DreamWorks movies, The Boss Baby‘s most imaginative moments are the random asides.
  10. If there’s anything Sander’s ravishing set pieces fail to sufficiently color in, it’s the movie’s emotional stakes.
  11. Even at its most engaging (those cubs!), Zookeeper can’t help evoking the dozens of films that have told these stories before, and better.
  12. If you lower your sights a few pegs and go in looking for a solid, tight B-movie that builds right until the final shot, there’s a lot to like.
  13. While CHIPS sure is goofy, it falls flat compared to other buddy-cop comedies in its genre, relying too heavily on unpleasant sex jokes (often revolving around gay panic) and a nonsensical crime plot.
  14. There’s a seed of an interesting, Twilight Zone premise here — what would you do if you were the last two people on earth? But Bokeh doesn’t seem to know what to do with it besides have its photogenic Adam-and-Eve leads take long nature walks, play board games, and upgrade their living conditions.
  15. Wilson has some deliciously awkward laughs thanks to Harrelson’s curmudgeonly, childlike performance, but it zips right along without ever landing any emotionally resonant blows.
  16. Most movies like Power Rangers get the first-half Y.A. character stuff wrong and the second-half smashy-smashy action stuff right. This one does just the reverse.
  17. Belko is an appropriately disreputable, gleefully disturbing movie.
  18. The good news is that the film’s four lead actors all slip seamlessly back into their onscreen alter egos as if they’ve been keeping tabs on them all these years.
  19. Every one in the film, down to the smallest characters on the fringes, is keeping secrets and spinning lies. And those lies beget more lies and more until the truth is a distant memory. It’s what can happen when life feels too overwhelming and unbearable to face.
  20. In terms of content and meaningfulness, Terrence Malick’s Song to Song is the cinematic equivalent of a Trump press conference. Incoherent, disconnected, self-interrupting, obsessed with pointless minutiae and crammed full of odd, limp stabs at profundity from a closed-off man in his 70s who apparently has no ability to edit or accept constructive criticism.
  21. Raw
    Raw is unsettling and repulsive and, believe it or not, occasionally funny. It’s got audacity and style, and it packs an undeniably wicked punch.
  22. There isn’t much room for nuance in his script, and the movie’s darkness (literally: too many poorly lit nighttime scenes are more heard than seen) undermines its message. But there’s something powerful even in its predictability.
  23. Stewart, who appears in nearly every scene, is intensely watchable, a coiled spring. But the movie is too fragmented and tonally strange to register as more than one of Maureen’s wispy, haunted apparitions.
  24. It’s fine and funny and sweet and lush and some of the songs are infectious, but I still don’t completely understand why it exists — and why they couldn’t do more with it.
  25. If the 
story’s outcome is hardly a 
mystery — the landmark case was affirmed by a 5–4 margin in June 2015 — and the look of the film itself a little docu-drab, it’s also a shrewd and frequently moving testament to the true nature of change.
  26. Slight even by the wafer-thin standards of the wedding rom-com genre, writer-director Jeffrey Blitz’s Table 19 offers a couple of mild chuckles, six actors who’ve all been far better elsewhere, and a mercifully brief running time.
  27. Shirley MacLaine’s well-deserved reputation as a salty, snappy grand dame — forged from later-career work like "Terms of Endearment," "Steel Magnolias," "Postcards from the Edge," "Bernie", etc. — unfortunately precedes her in this sloppy, saccharine drama costarring Amanda Seyfried.
  28. A teen melodrama that’s steeped in clichés but still has an unexpectedly poignant message.
  29. Hiddleston and Larson are especially let down by the script, which wants to be jokey in the way that something like Predator was, but can’t pull it off. The same lack of care goes into the period-specific song choices that have as much imagination as a Time-Life Songs of the ‘70s set.

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