Entertainment Weekly's Scores

For 2,412 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 7.4 points higher than other critics. (0-100 point scale)
Average TV Show review score: 73
Highest review score: 100 The Simpsons: Season 2
Lowest review score: 0 Justice for Natalee Holloway
Score distribution:
  1. Mixed: 0 out of 1856
  2. Negative: 0 out of 1856
1856 tv reviews
    • 54 Metascore
    • 58 Critic Score
    The humor isn't everyone's cup of tea (particularly anyone over 18), but the solid supporting cast might reward the extremely patient. [October 14, 16, p.52]
    • Entertainment Weekly
  1. The show nonetheless sails along thanks to a full tank of Billy Bob. [14 Oct 2016, p.52]
    • Entertainment Weekly
  2. A fresh, sharp-edged comedy that swerves past nearly every cliché.
  3. It's two moody-cop procedurals for the price of one, with deeply felt emotion in the performances. [7 Oct 2016, p.51]
  4. The sharply scripted, crisply directed premiere hooks you with twists and turns, and Anderson and Sasse are crazy appealing. [7 Oct 2016, p.51]
    • Entertainment Weekly
  5. Any potentially thorny issue get pushed aside by excess mythology. [7 Oct 2016, p.50]
  6. The show could work if it took advantage of Perabo and Sunjata’s great dynamic, but right now there aren’t nearly enough lighthearted, banter-filled moments, and the actors appear to be trapped by a script that takes itself way too seriously.
  7. The depth of Westworld lies not in asking questions about memory, free will, and what makes us human, but in whether we can become more human than what we let ourselves to be, whether our stories can be richer and more meaningful than what the culture allows.
  8. Conviction doesn’t have the courage of its, errr, principles. It wants to prove the justice system is broken, but it still believes justice comes from a cool office with glass walls and attractive people.
  9. The main characters just bicker at each other using staid arguments, and though the last few episodes have some mildly entertaining caper and farce elements, the payoff isn’t quite enough to justify sitting through all six episodes.
  10. The abundance of flaws--a sluggish pace, thinly stretched plots--can't smother everything interesting. ... Luke Cage is a meaningful attempt at developing a new-model black hero. [30 Sep 2016, p.48]
    • tbd Metascore
    • 91 Critic Score
    What makes Younger continue to work is the fact that Liza's daughter, job, and friends still (appropriately) take priority, It's that truth--as well as help from Liza's zany associates--that keeps the series grounded in its fun reality. [30 Sep 2016, p.53]
    • Entertainment Weekly
  11. Not quite as smart as the recent Wolf Hall or as deliciously decadent as the bygone The Tudors, Versailles fails to live up to its regal potential. [30 Sep 2016, p.54]
    • Entertainment Weekly
  12. The new Lethal Weapon is more modest, and nicer; less offensive, thus, less interesting.
  13. Rupert Wyatt’s direction is solid, but he’s too beholden to the visual grammar of his inspiration, and the familiarity dilutes the fear factor. It looks frightening, but it doesn’t chill--the images are cliché, the jump scares barely provoke a jitter.
  14. Bunbury is breakout great and Gosselaar is something of a revelation. ... The storytelling relies too much on real-world sportscasters to narrate and debate the action. Their dialogue is canned and their performances are stiff, undermining the pursuit of authenticity.
  15. Sutherland is incredibly appealing and credible in a change-of-pace role. The supporting players are well cast.
  16. The briskly paced humor is delightfully irreverent, taking aim at PC posturing and entitlements of all kinds.
  17. A 21st century thirtysomething for a TV generation that likes a splash of high concept in their shows and isn’t afraid of melodrama.
  18. Nothing is perfect, but the wise whimsy of The Good Place comes close.
  19. The use of mystery to market the season may have been contrived, but at this point, mystery might also be the best thing going for it, too.
  20. Season 2 shows every sign of being as inspired and resonant as season 1.
  21. An intimate show deeply curious about its characters that hits--apologies in advance for this--just the right high.
  22. It’s an offbeat, refreshing take on the (broken) family sitcom and deadbeat dad redemption story.
  23. Masters of Sex excels when Virginia Johnson and William Masters are together, so it's to the season 4 premiere's detriment that they share only a few mostly uneventful minutes on screen. Still, the duo deliver nuanced performances. [9 Sep 2016, p.55]
    • Entertainment Weekly
  24. Shows like this only click when you're having some nasty fun, and fortunately we get some from Peter Mullan as a gentlemanly baddie and The Leftovers' great Ann Dowd as a gay gangster's mama. [9 Sep 2016, p.55]
    • Entertainment Weekly
  25. Whether it’s turning its squinty eye on soccer practice or sexting or how to handle your best friend’s useless stoner husband, that real-lifeness, in all its weird, mundane, un-laugh-tracked glory, is the best thing about Better Things.
  26. Some limp decisions make it feel more like a Models Inc. reboot with fewer models, more Bit coin. But it's worth watching just for Edi Gathegi, who bring star-making charisma and unwarranted pathos to the role of a criminal who (sigh) wants to go straight. [9 Sep 2016, p.55]
    • Entertainment Weekly
  27. The acting ranges from intensely solid to intensely shallow, and the dialogue is often cliché and tinny. But the characters resonate, and DuVernay finds scenarios and images that suffuse the show with exceptional emotional power.
  28. “We need a chance to fail,” says Earn, bemoaning a one-chance (or no-chance), perfection-or-bust culture. Atlanta--a triumph of risk taking by its network and creator--moves you with this truth and others.

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