Entertainment Weekly's Scores

For 3,156 reviews, this publication has graded:
  • 80% higher than the average critic
  • 1% same as the average critic
  • 19% lower than the average critic
On average, this publication grades 5.3 points higher than other critics. (0-100 point scale)
Average Music review score: 77
Highest review score: 100 Equilibrium
Lowest review score: 0 Playing With Fire
Score distribution:
3,156 music reviews
    • 64 Metascore
    • 67 Critic Score
    Though she makes a few knowingly meta nods to her own rep, Paradise leans too hard on the same tired drowsy-Lolita poses. [23 Nov 2012, p.70]
    • Entertainment Weekly
    • 67 Metascore
    • 67 Critic Score
    Rebel Soul lives and dies by his yarn-spinning.
    • 63 Metascore
    • 67 Critic Score
    The reconceived album is stuffed with overproduced midtempo tracks that don't complement his naturally cheeky showmanship. [19/26 Apr 2013, p.112]
    • Entertainment Weekly
    • 73 Metascore
    • 67 Critic Score
    As easy listening goes, it's dreamy--so dreamy you might have trouble staying awake. [15 Feb 2013, p.66]
    • Entertainment Weekly
    • 51 Metascore
    • 67 Critic Score
    Lil Wayne still has his curveball, but on I Am a Human Being II his MVP status is behind him.
    • 55 Metascore
    • 67 Critic Score
    10
    An effort largely filled with breathy, elevator-ready ballads, and jazzy uptempo ditties that never quite reach their potential. [12 Apr 2013, p.72]
    • Entertainment Weekly
    • 75 Metascore
    • 67 Critic Score
    It's a messy, rock-out-in-the-garage record, and there's energy to spare on the gospel-disco rave-up ''Sacrilege.'' But there are too many half-formed ideas and failed experiments here.
    • 63 Metascore
    • 67 Critic Score
    Many tracks are fairly anonymous but ballad "Brighton Beach" and the anthemic "Can't Stop Me Now" serve as reminders that this is the man who brought us "Maggie May." [10 May 2013, p.67]
    • Entertainment Weekly
    • 72 Metascore
    • 67 Critic Score
    13
    The result is surprisingly adventurous, considering the monochrome palette of Osbourne's latter-day solo work.... Still, Rubin makes too much here feel dry and disappointingly small.
    • 71 Metascore
    • 67 Critic Score
    He's a talented, nimble rapper, but diatribes like "Trouble" and "Land of the Snakes" are more exhausting than impressive; too often he comes off like a strident high school jock with a word-a-day calendar.
    • 59 Metascore
    • 67 Critic Score
    Stars Dance feels like a studiously anonymous bag of one-size-fits-all pop attitudes. [26 Jul 2013, p.67]
    • Entertainment Weekly
    • 72 Metascore
    • 67 Critic Score
    Legend too often resorts to theater-kid oversinging. [6 Sep 2013, p.75]
    • Entertainment Weekly
    • 69 Metascore
    • 67 Critic Score
    The result is sonically exploratory (if overproduced), but Urban's breezy, flirty lyrics are so dreadfully derivative that they undo his attempt at diversity. [13 Sep 2013, p.71]
    • Entertainment Weekly
    • 79 Metascore
    • 67 Critic Score
    Some of that soul [heard on previous singles "Tomorrow" and "Voices"] survives on his fourth album, but too often he falls into the "bro country" trap currently plaguing the genre. [20/27 Sep 2013, p.152]
    • Entertainment Weekly
    • 49 Metascore
    • 67 Critic Score
    When he loosens up, you get charmers. [15 Nov 2013, p.79]
    • Entertainment Weekly
    • 59 Metascore
    • 67 Critic Score
    Bizarrely, for an album by guys born in the early '90s, it's '80s hard rock that Midnight celebrates.
    • 64 Metascore
    • 67 Critic Score
    Only the occasional clear headed gulps of oxygen--like the creepy-funky "No Exit"--keep Internet from drowning in a harrowing sea of personal insecurities. [20 Dec 2013, p.60]
    • Entertainment Weekly
    • 71 Metascore
    • 67 Critic Score
    Pairing Nettles' rich, bright, soaring voice with Rubin's spare style feels like serving a hot fudge sundae on a paper plate. [31 Jan/7 Feb 2014, p.104]
    • Entertainment Weekly
    • 69 Metascore
    • 67 Critic Score
    With his honeyed voice and weirdly anthropological eye--he seems to study "Pretty Girls" holding "tall boys" and "Back Porch" partying from afar--Bentley is Brawny Man bland. [28 Feb 2014, p.71]
    • Entertainment Weekly
    • 48 Metascore
    • 67 Critic Score
    It's hard to be that mad at Louder, because it's so admirably and lovingly crafted.
    • 66 Metascore
    • 67 Critic Score
    Dodgy songs abound, but so does Kylie's plucky charm. [21 Mar 2014, p.62]
    • Entertainment Weekly
    • 56 Metascore
    • 67 Critic Score
    Iggy's got a handful of top shelf singles, but too much of The New Classic is old news. [2 May 2014, p.63]
    • Entertainment Weekly
    • 49 Metascore
    • 67 Critic Score
    There's a breathlessness here, as though these songs rushed out of Thicke uncontrollably. That energy is welcome--Paula is not all sad-piano ballads--but it also leads to some incomplete thoughts.
    • 64 Metascore
    • 67 Critic Score
    For her second album, My Everything, Grande has picked a set of songs so lyrically bland, sonically inoffensive, and artistically empty that they produce a zero-impact experience--musical vanilla fro-yo poured directly into your ears. It's by no means painful; there are even moments of fun.
    • 70 Metascore
    • 67 Critic Score
    The plethora of headphones-friendly tones frequently overshadow melodies that feel less than fully developed. [3 Oct 2014, p.69]
    • Entertainment Weekly
    • 77 Metascore
    • 67 Critic Score
    The killer hooks of Weezer's '90s zenith aren't here, but Cuomo's endearingly dorky lyrics still are. [6 Oct 2014, p.62]
    • Entertainment Weekly
    • 70 Metascore
    • 67 Critic Score
    Even the purest pop songs get derailed by the sheer volume of ideas he attempts to cram into every sonic cranny, including a confusing sci-fi narrative thread that periodically breaks in.
    • 66 Metascore
    • 67 Critic Score
    The Queen of Soul delivers a rollicking take on Adele's "Rolling in the Deep," but covers of other lady icons--Chaka, Barbra, Etta--feel dated or ill conceived. [24 Oct 2014, p.63]
    • Entertainment Weekly
    • 65 Metascore
    • 67 Critic Score
    [On album's first half] the melodies are sturdy and the lyrics catch. Later, the titles get sillier (''Stockholm Syndrome''), and the guitar-jam vibe turns as dull as every real-life guitar jam. But when Four ends, your ears are guilt-free.
    • 58 Metascore
    • 58 Critic Score
    A major improvement over Avenue B's acoustic midlife crisis, this self-produced disc finds the Ig yelping off the top of his id again. [27 Jul 2001, p.72]
    • Entertainment Weekly