Entertainment Weekly's Scores

For 2,442 reviews, this publication has graded:
  • 66% higher than the average critic
  • 13% same as the average critic
  • 21% lower than the average critic
On average, this publication grades 7.5 points higher than other critics. (0-100 point scale)
Average TV Show review score: 73
Highest review score: 100 Show Me a Hero
Lowest review score: 0 Justice for Natalee Holloway
Score distribution:
  1. Mixed: 0 out of 1876
  2. Negative: 0 out of 1876
1876 tv reviews
  1. It's most powerful when the band shares memories of the plane crash that killed three members, including frontman Ronnie Van Zant. [17/24 Aug 2018, p. 90]
    • Entertainment Weekly
  2. The boxing competition still features brutal action in the ring and moderate drama outside it; the real star is the flurry of integrated product placement. [17/24 Aug 2018, p.93]
    • Entertainment Weekly
  3. An intriguing, yet exasperating, reboot. [17/24 Aug 2018, p.83]
    • Entertainment Weekly
  4. The tunes are forgettable, so bland they make Teen Beach 2 look like High School Musical 3. Zuelhsdorff and Blickenstaff give good age-crossed performances, but the tone around them is all over the place, fart jokes and dead-dad ruminations.
  5. Mayans benefits from the richness of its source material, and for Sons fans it’ll fit like a well-worn kutte.
  6. Beautifully shot and leisurely paced, Castaways is essentially Naked and Afraid without the winking titillation, or Survivor without the obstacle courses and interpersonal fireworks. If that makes it sound just this side of boring... well, that’s about right.
  7. Disenchantment feels half-formed, a bit plastic. The vibe is like one of the wilder “Treehouse of Horror” segments, the kind where the big joke is how many grotesque ways Simpsons characters can die.
  8. The plot twists are absurd, but the fine cast shimmers. [3 Aug 2018, p.53]
    • Entertainment Weekly
  9. It’s all far too much to cover in 44 minutes, and the last episode of Rest in Power feels like a conversation that gets cut off mid-sentence. What started as an effort to record a moment in history became, by the end, a documentary of the moment we’re living now. If ever a series had enough material for a second season, sadly this is it.
  10. Molly’s starting a new job at an all-black law firm, a utopian-seeming office with its own brand of workplace politics. She’s still seeing Dro (Sarunas J. Jackson), Mr. Open Marriage, so that’s another It’s Complicated. Insecure juggles these complications marvelously, blending swoony-sexy swagger with laugh-out-loud comedy. The four episodes I’ve seen push the central characters to moments of change, some minor, some life-altering.
  11. It’s a rollicking entertainment. There are ticking-clock countdowns to big games, on-the-field implosions, a devotional rap video, a grudge match. Pinkard shines, throughout, a walking exemplar of the possibilities of higher education, talking with raw honesty about her struggles, doing her damnedest to teach her kids about the possibilities of life off the field, opportunities they never learned about. ... It’s stunningly well-made.
  12. There are a lot of tiny delights. (On this show, making coffee looks Hitchcockian.) But there’s a resistant macro-feeling of: Like, why? ... I’m left with the feeling that the Gus Fring scenes in Better Call Saul are the dark-drama equivalent of the horrible Darth Vader scenes in Rogue One, this looming figure of evil awesomeness brought out of retirement to emanate coolness fumes.
  13. A compelling medical mystery makes up for tepid small town intrigue. [20/27 Jul 2018, p.97]
    • Entertainment Weekly
  14. We’re still miles away from the majesty of season 1. There are real delights in this final season, though.
  15. The show is also confident enough to blow up its framework (in this case literally) and thrust the characters into an entirely new environment--a largely successful shift brings fresh energy and some standout new characters to the prison dramedy’s sixth season.
  16. There are some laughs in Who Is America?, but the most profound feeling you get from the show is weariness. Cohen’s haphazard comedy instincts feel topical in the worst way.
  17. Though most characters are new (Scott Glenn’s Alan Pangborn, a sheriff who appeared in Needful Things and The Dark Half, is one exception), for King fans the world of Castle Rock will be inescapably familiar. Spending time here feels, in many ways, like coming home--with all of the excitement and dread such a visit entails.
  18. Harlots has a kind heart, but no pulse. [6 Jul 2018, p.42]
    • Entertainment Weekly
    • tbd Metascore
    • 58 Critic Score
    More of the same: superb visual vistas; darkly gothic plotlines that show a baffling disregard for the homespun charm of L.M. Montgomery's books. [6 Jul 2018, p.45]
    • Entertainment Weekly
  19. For a while, it smacks of an admittedly less optimistic version of Mirror‘s “San Junipero,” these two repressed young women finding a much-needed release in one another that’s terabytes more intoxicating that anything Azana could render. But somewhere around the fourth hour of its 6-episode first season, the show becomes something markedly different and far less interesting: a tech-thriller overflowing with bugs it can’t patch.
  20. The mystery's a slow burn, but Adams is a ravaged delight, soaking angry ghosts with vodka and rage. [6 Jul 2018, p.46]
  21. It takes a tremendous amount of commitment and precision to make comedy this stupid work so brilliantly, and once again Trial & Error’s cast proves wonderfully capable.
  22. Co-creator Taylor Sheridan has written and directed every episode I’ve seen so far, and when he’s not indulging himself with random gunfights, he has a weakness for wannabe poeticism, letting his characters muse darkly. Everybody gets one portentous line per scene.
  23. The bantery ensemble comedy and doing-our-own-stunts stage farce leads to darker, more raw emotional places.
  24. For a show steeped in apocalyptic dread and regret, 12 Monkeys has a surprisingly light sense of humor. It helps that the cast is so rock solid. ... Here’s a world-bending time odyssey with a profound adoration for the ghosts of TV junk past.
  25. Broadway is about entertainment and escape--as Groban and Bareilles sang in their opening number, “In a world that is scary and hard to endure, if you make art at all you’re a part of the cure”--and this year’s Tonys delivered both, in restorative doses.
  26. Whatever your religious beliefs (or lack thereof), by the end of this episode, you’ll be yelling “Amen!” through your tears.
  27. Nothing made sense and there wasn’t enough Dennis Haysbert.
  28. The actors all got different memos. ... Succession is some kind of success, if the point is to prove the Murdochs are boring as hell. [1/8 Jun 2018, p.78]
  29. Some of the larger narrative elements of season 1’s big mystery feel familiar (with a parent-killing Big Evil Company at the center of it all). But Cloak & Dagger finds a new groove when Tyrone and Tandy start talking. ... So there’s real potential here. Joseph and Holt have a nice rhythm, when the show lets them hang out.

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