Entertainment Weekly's Scores

For 3,356 reviews, this publication has graded:
  • 81% higher than the average critic
  • 1% same as the average critic
  • 18% lower than the average critic
On average, this publication grades 5.4 points higher than other critics. (0-100 point scale)
Average Music review score: 78
Highest review score: 100 Final Straw
Lowest review score: 0 Playing With Fire
Score distribution:
3356 music reviews
    • 49 Metascore
    • 50 Critic Score
    As tiresome as Durst can be, Limp Bizkit are very good at what they do; the band is exceptionally tight, evidenced by its ability to switch time signatures and moods within songs (kudos to guitarist Wes Borland). Still, their stance and sound already reek of formula, and the album's attempts at mold breaking may be the band's way of acknowledging this fact.
    • 68 Metascore
    • 50 Critic Score
    The faux naive stance is merely irritating, the bubblegum track merely cute, the cheese rock quotient merely cheesy.
    • 50 Metascore
    • 50 Critic Score
    Cardiology, the pop-punk band's fifth album, struggles to stay relevant.
    • 61 Metascore
    • 50 Critic Score
    This might make for nice pregaming music before an evening out clubbing in Ibiza, but for the rest of us, the effects can be a bit savage on the ears. [24 Aug 2007, p.133]
    • Entertainment Weekly
    • 41 Metascore
    • 50 Critic Score
    The tedious MOR power ballads can't seem to get out of low gear. [13 Jun 2003, p. 96]
    • Entertainment Weekly
    • 52 Metascore
    • 50 Critic Score
    Expensive beats and uplifting material are offset by listless vocals.
    • 73 Metascore
    • 50 Critic Score
    We've heard it all before, and better. [30 Sep 2005, p.93]
    • Entertainment Weekly
    • 58 Metascore
    • 50 Critic Score
    It's competent, if fairly faceless. [23/30 Jan 2004, p.99]
    • Entertainment Weekly
    • 63 Metascore
    • 50 Critic Score
    His sun-baked characters... are too lazy to be interesting. [28 Jan 2005, p.85]
    • Entertainment Weekly
    • 71 Metascore
    • 50 Critic Score
    His ... /bellow is downgraded to a whimper on these live, solo acoustic tracks. The Audioslave songs take the biggest hit; without amp-busting bluster, they're barely there.[Nov. 25, 2011, p. 71]
    • Entertainment Weekly
    • 69 Metascore
    • 50 Critic Score
    Here, she gets stuck in too many clunky Big Idea statements about equality and social politics.
    • 65 Metascore
    • 50 Critic Score
    There aren't many hot tracks here. [1 Apr 2011, p.77]
    • Entertainment Weekly
    • 56 Metascore
    • 50 Critic Score
    Memo to self:... no matter how many foreign words I had to learn, I can still hit TONS of unnecessary high notes.
    • 57 Metascore
    • 50 Critic Score
    Dominated by overly repetitive, lumbering throwaways. [18 Mar 2005, p.68]
    • Entertainment Weekly
    • 62 Metascore
    • 50 Critic Score
    About as sexy as a late-night Nerve.com instant-message session. [22 Apr 2005, p.62]
    • Entertainment Weekly
    • 77 Metascore
    • 50 Critic Score
    Artists from Radiohead to Liars have explored this territory already, and better. [19/26 Apr 2013, p.112]
    • Entertainment Weekly
    • 51 Metascore
    • 50 Critic Score
    Intermittently catchy numbers help a bit, but not enough to counter the overwhelming aura of by-the-numbers blandness. [19 Aug 2005, p.143]
    • Entertainment Weekly
    • 66 Metascore
    • 50 Critic Score
    But at heart, Reptile is yet another version of the tepid corporate rock records Clapton's been making ever since 1974's bestselling 461 Ocean Boulevard.
    • 58 Metascore
    • 50 Critic Score
    At least Eminem's voice and rhyming skills remain among the most arresting in current pop. The same can't be said of the other members of D12, who are proficient and barely distinctive.
    • 61 Metascore
    • 50 Critic Score
    Groovy but tepid. [20 May 2011, p.72]
    • Entertainment Weekly
    • 64 Metascore
    • 50 Critic Score
    With Sam's Town, they've removed the glopped-on Goth eyeliner, sprouted scruffy outlaw beards, and traded in urbane decadence for windswept super-romanticism. Bye-bye, Duran Duran; hello, Simple Minds.
    • 56 Metascore
    • 50 Critic Score
    Amid the stabs at growth, every new effect sounds borrowed.
    • 63 Metascore
    • 50 Critic Score
    Just as surely as Justin brought sexy back, Kelly is bringing slightly creepy back.
    • 70 Metascore
    • 50 Critic Score
    Pinkprint slogs through too many ponderous piano ballads, and it's a shame, because there are moments here that give flashes of that mad brilliance.
    • 85 Metascore
    • 50 Critic Score
    This vanilla artifact from Zep's massive 2007 reunion concert falls into all of the typical traps associated with live albums. [30 Nov 2012, p.73]
    • Entertainment Weekly
    • 59 Metascore
    • 50 Critic Score
    ''Glitter'' is a mess, but its shameless genre hopping (and Carey's crash) makes it an unintentional concept album about the toll of relentless careerism.
    • 55 Metascore
    • 50 Critic Score
    V
    Despite its pop pedigree, V's hooks are alarmingly unsticky.
    • 43 Metascore
    • 50 Critic Score
    Anyone else offering up such hokum would do it with tongue fairly deep in cheek. Not Lenny Kravitz. [21 May 2004, p.76]
    • Entertainment Weekly
    • 63 Metascore
    • 50 Critic Score
    Christopher Colonna's partly annoying, wholly unintelligible emceeing on ''Pony'' could not possibly prepare you for the nasal pseudosnarl of lady rapper Vila, who dominates the album's latter half.
    • 54 Metascore
    • 50 Critic Score
    The tightly harmonized ballads that once lent them maturity are now garishly produced and lyrically insipid.