Entertainment Weekly's Scores

For 2,346 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 The Sopranos: Season 2
Lowest review score: 0 Drawn Together: Season 1
Score distribution:
  1. Mixed: 0 out of 1800
  2. Negative: 0 out of 1800
1800 tv reviews
  1. While the pilot breezily sets up her [Fallon Carrington played by Elizabeth Gillies] family's decadent problems, there's something fuddy-duddy in the execution--high-camp trash reduced to bland high style. [13 Oct 2017, p.55]
  2. Riverdale's second season solidifies the series as a glorious addition to the pantheon of great teen dramas. [13 Oct 2017, p.54]
  3. White Famous is the oldest trick in Hollywood's book, a phony Horatio Alger story that's really a vanity project struggling to validate its own vanity. [13 Oct 2017, p.48]
  4. There really were a lot of plain-old mistakes: Missed cues, underexplained games, an exclusive clip from Riverdale cutting right over the guest’s introduction of that clip. ... Despite being more impressive in pure visual terms, the new TRL was also too stilted, weirdly unable to pivot from the rails laid for it.
  5. The overall effect is a worthwhile appreciation of one of Hollywood's all-time greats. [6 Oct 2017, p.55]
    • 59 Metascore
    • 75 Critic Score
    Accepting the celestial quirk takes a leap, but Kevin's dynamic with his grieving twin (JoAnna Garcia Swisher) anchors the tale and Ritter's charisma elevates it. [6 Oct 2017, p.53]
  6. An altogether charming sitcom with witty one-liners and up-to-the-minute cultural references. [6 Oct 2017, p.82]
  7. Although The Gifted lacks the tongue-in-cheek humor of Netflix’s Jessica Jones or The Defenders, it stays afloat with quality special effects and surprisingly excellent performances across the large ensemble cast.
  8. The 2017 reboot is a blithe, fizzy mix of the familiar and new.
  9. It could use more laughs, less hand-me-down mythology. Scott and Robinson have a good odd-couple chemistry and the John Carpenter-y synth soundtrack is just right. [29 Sep, 2017, p.55]
    • Entertainment Weekly
  10. A thoroughly ridiculous tech-tinged procedural. ... Nothing that happens in the pilot seems legal, ethical or logical. [29 Sep, 2017, p.55]
    • Entertainment Weekly
  11. Liar piles telenovela traits across six, pulpy logic-defying hours. What's left feel like less than the premise deserves: loopy melodrama classed up with British accents and high production values. [29 Sep, 2017, p.54]
    • Entertainment Weekly
  12. The tactical precision and comms banter suggest Call of Duty adaptation, which could work with a cast this solid, and Neil Brown Jr is especially fun as a no-bull soldier. But the show's portrayal of modern warfare is too simplistic. [29 Sep, 2017, p.54]
  13. At best, it's a glossier Criminal Intent. ... Still, [Erik's lawyer Leslie Abramson (Edie Falco)] is barely a footnote in the first two eps, as the writers struggle to weave her into the early investigations. [29 Sep, 2017, p.54]
  14. The various cuts to Shaun’s tragic youth suggest tragedy that the show’s glibness can only render in the broadest strokes; bad dad, kind brother, dead symbolic rabbit. It’s actually a relief when the show separately establishes itself as a sudsy Diet Grey’s Anatomy riff, with British actress Antonia Thomas as an ambitious doctor-who-cares and Nicholas Gonzalez as a McDream-ish surgeon-who-doesn’t.
  15. It’s that focus on family, with Sheldon as an oddity and an outsider but still loved, that makes Young Sheldon sweeter than The Big Bang Theory. ... Although the humor--in the show’s pilot at least--is less reliant on what most people would call “jokes” and more reliant on “a tiny child in a bowtie saying the word ‘brassiere,’” as far as sitcoms go, it’s inoffensive and as comforting as Mrs. Cooper’s tater tots.
  16. You respect the ambition of unspooling this story gradually, but the third episode also retroactively makes the two-part prologue feel even more overextended. This feels like a show struggling to find its heart. But at least Martin-Green gives it a pulse.
  17. Inhumans has an eight-episode run on ABC, but by the second hour, it already feels like they’re stalling, or running out the clock.
  18. Think Documentary Now! without the starry lineups, or Andy Samberg’s faux sports documentaries without as many tangents--and better yet, they manage to make a high-school dramedy work around the “documentary” itself. All in all, it’s an impressive tightrope walk.
  19. The show has kept its essential core, and built increasingly interesting stories and structures around it--and what it really means to be a New Yorker.
    • 45 Metascore
    • 67 Critic Score
    Like its opening credits, a dizzying kaleidoscope of villas and fine arts, Riviera spends as much time luxuriating in wealth as it does telling its story, which is a shame because the plot twists intrigue. [15 Sep 2017, p.68]
  20. The two leads remain horribly entertaining as small men with huge chips on their shoulders. [15 Sep 2017, p.68]
    • Entertainment Weekly
  21. Some of the most mesmerizing hours of television all year. [15 Sep 2017, p.66]
    • Entertainment Weekly
  22. I didn't think Better Things could get any better. It's thrilling to be wrong. [15 Sep 2017, p.66]
    • Entertainment Weekly
  23. The story ages Jamie and Claire, so when they reunite after a deliciously agonizing buildup (marked by some inspired humor), the rapture is both emotional and spiritual. In season 3, Outlander, TV’s best romance, soars by making you fall in love with it all over again.
  24. The Deuce is an absorbing, resonant chronicle about the evolution of dehumanizing skin trades and the mainstreaming of adult entertainment.
  25. Paulson and Peters are electric the few times they’re onscreen together, two political-extremist poles that magnetically attract. I suspect these first three episodes might constitute an extended prologue, frustratingly similar to how the first half of Roanoke was an overextended set-up for the perspective-shifting madness of the final episodes.
    • 77 Metascore
    • 83 Critic Score
    The show could do better with its shallow portrayal of its female characters, but fans of mob dramas should otherwise find everything they want. The narrative picks up its pace as the season progresses into a final run of episodes that feature the most suspenseful sequences Narcos has ever had.
  26. Though many of the show’s jokes center around pot humor (one episode ends with a character sitting in her parked car, convinced she’s driving down the highway), there’s also some depth.
  27. There’s an exploration of bureaucracy in the world of superheroes that implies a whole separate David Simon-worthy spinoff. There’s Serafinowicz, a true delight. And just when I was starting to get bored with how every episode ends on a cliffhanger, episode 6 ends with someone yelling “CLIFFHANGER!”

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