Entertainment Weekly's Scores

For 2,155 reviews, this publication has graded:
  • 65% higher than the average critic
  • 14% same as the average critic
  • 21% lower than the average critic
On average, this publication grades 8 points higher than other critics. (0-100 point scale)
Average TV Show review score: 73
Highest review score: 100 Now and Again: Season 1
Lowest review score: 0 Justice for Natalee Holloway
Score distribution:
  1. Mixed: 0 out of 1649
  2. Negative: 0 out of 1649
1649 tv reviews
  1. The X-Files' fourth season ... has been very uneven, with a few superb episodes propping up weak ones. ... Let's move the mythology along, shall we?
  2. The drama's strange coincidences and unlikely twists are boundless. But The Riches is like a skillful shell game: Even when you know you're being played, the dizzying machinations are irresistible.
  3. Macy, Rossum & Co. have never been more explosively entertaining, while this year's hilarious story setups are deviously par for the course on TV's most insane, debaucherous dose of weekly WTF. [24 Jan 2014, p.65]
    • Entertainment Weekly
  4. Ritter and Post are skilled, likable actors, but neither of them radiates heat. What I liked best about the premiere, in fact, had nothing to do with romance: It was the opening scenes between John and his young children, Ben (Justin Burnette) and Elliot (Clark Duke)—funny, affectionate moments that carry the ring of complicated truth: family values redeemed.
  5. Geek out over Anakin Skywalker's underwater lightsaber action and a young, pre-admiral Ackbar ordering a retreat...but groan anew when Jar Jar Binks shows up to glug and mug.
  6. All that commotion sets the season on a compelling path, hitting the road with a purpose. This is when Dead is at its best: journeying through postapocalyptic, fun-house-mirror America.
  7. The gorgeous art direction make this great fun, and Rhys Meyers plays his part with such blood-slurping, mouth-wiping gusto that even a dentist could love him. [25 Oct/1 Nov 2013, p.94]
    • Entertainment Weekly
  8. I'd rather just watch Grammer and Heaton trade barbs in the newsroom. [21 Sep 2007, p.71]
    • Entertainment Weekly
  9. Stylized, soapy, silly, it's one of the most interesting shows this fall. [12 Oct 2007, p.64]
    • Entertainment Weekly
  10. The mystery isn't as gripping as it could be, but the acting is stellar and the show is worth watching for the ice-cool atmospherics alone. [30 Jan/6 Feb 2015, p.121]
    • Entertainment Weekly
  11. What gives this film grit are the visual displays of her work ethic and her fierce determination to "bring R&B music back" to the center of current pop music, to "forget being cool" and reveal naked passion. [15 Feb 2013, p.60]
    • Entertainment Weekly
  12. The most believable character--and the real reason to check in to Bates Motel--is undoubtedly Farmiga's Norma.
  13. Even if it soon crashes and burns, this pilot for Flying Blind is easily one of the best debut shows of the year.
  14. No, 'The Sopranos' isn't the constant shock-of-the-new it once was; even its moments of abrupt, crazy violence are easily spotted. But there are still many scenes that are touching and devastatingly sincere.
  15. A lot of these scenes hit the mark, others hit the floor with a thud. But, much like last summer’s The Carmichael Show, it’s an admirable exercise either way.
  16. The comic timing isn't as tightly paced as it once was, but there's a certain WTF thrill in watching story lines meander where ever they please. [20/27 Mar 2015, p.92]
  17. It's two moody-cop procedurals for the price of one, with deeply felt emotion in the performances. [7 Oct 2016, p.51]
  18. A simmering bit of silly suspense fun created by X-Files writer-producer Frank Spotnitz.
  19. The oddball overload bugs at first, but the incredibly likable cast makes The Unusuals unusually promising.
  20. What starts out lean and mean can grow flabby and sentimental, and flaws can turn into handsome plot twists. Which is one reason to just bite down hard and go with the show.
  21. A juicy, jauntily anarchic production.
  22. Fortunately, you don't have to take the former SNL star too seriously to roll with Brooklyn Nine-Nine, a sitcom from the producers of Parks and Recreation that smartly pokes at police-show tropes and creates a promising comedy playground where the Motherlovin' jester can cut loose.
  23. Fresh blood and sharp ideas make for delicious, smart-pulp fangoria. [22/29 Apr 2016, p.105]
    • Entertainment Weekly
  24. The premise is a neat riff on immigration and fitting in, but the jokes are a bit conventional for a show that looks so pleasantly odd.
  25. This show, which reunites the undeniably charming Bilson with The O.C. creator Josh Schwartz, is a goodie that mixes heartstring-tugging moments with lines like this: "There it is. Rock bottom. I just played 'Dixie' with my butt."
  26. I'll miss Grissom, but welcome Langston's brusque authority: lotsa possibilities for friction with the prickly CSI crew.
  27. Sound gaggy? It's not. Twain is incapable of treacle: She travels, talks, and even sings!
  28. Filmed with a muddy palette, the premiere hums with menace. There's lots of low-down action, with brass knuckles applied.
  29. 'Deadwood' creates from the git-go a villain for the ages in Al Swearengen. McShane's slicingly deep voice is like a bowie knife stuck in the series' heart, but instead of stopping its action, he brings the show to pumping, bloody life.
  30. Thanks to clever writing and smart pacing, everyone from Work gets a chance to shine. [14 Aug 2015, p.56]
    • Entertainment Weekly

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