Entertainment Weekly's Scores

For 1,709 reviews, this publication has graded:
  • 65% higher than the average critic
  • 15% same as the average critic
  • 20% lower than the average critic
On average, this publication grades 7.8 points higher than other critics. (0-100 point scale)
Average TV Show review score: 72
Highest review score: 100 Chelsea Handler: Uganda Be Kidding Me: Season 1
Lowest review score: 0 The Pauly D Project: Season 1
Score distribution:
  1. Mixed: 0 out of 1295
  2. Negative: 0 out of 1295
1,295 tv reviews
  1. It's a Frankenstory made with borrowed bits and recycled parts that could evolve into its own vibrant creation.
  2. There are enough deviations to keep horror aficionados at least mildly interested. [9 May 2014, p.61]
    • Entertainment Weekly
  3. The hour moved swiftly and had its share of belly laughs. At its core, The Maya Rudolph Show played like an extended SNL episode (with appropriately saccharine Muppet Show undertones) that did its best to highlight Rudolph’s range.
  4. On this sitcom about a basketball-obsessed Boston clan, Laurie Metcalf stands out as matriarch Marjorie.
  5. Leoni has great potential here, but the character development and "I'm already hooked" magic (a la The Good Wife) aren't quite there yet. [19/26 Sep 2014, p.126]
  6. The lush narrative style is alluring, but when Adolf Hitler starts to feel like a pulpy Batman villain, you'll suspect this isn't the most insightful ­account available. [30 May/6 Jun 2014, p.111]
  7. The volatile combo of elements leads to occasionally sloppy storytelling, but the cast--particularly the icy Hardwick and the oft-nude Naughton--makes it a deeply bingeable guilty pleasure. [30 May 2014, p.115]
    • Entertainment Weekly
  8. As a meditation on grief, The Leftovers can be oppressive.... As a mystery, however, it's gripping.
  9. This is cult-classic, midnight-movie horror, designed in meticulous, mythology-respecting detail for comic-book readers and fangirls and -boys.
  10. All are very likable, which is a worthy enough reason to watch.
  11. Sharknado 2 is a rousing upgrade from middling shlock to high-quality schlock. [25 Jul/1 Aug 2014, p.108]
  12. "Don't Let Them In" reads the show's tagline, but we're happy to have this show intrude upon our Saturday nights for the time being. [22/29 Aug 2014, p.101]
    • Entertainment Weekly
  13. McKenzie is a winning mix of cockiness and righteousness. Even better is Donal Logue as his partner, Harvey Bullock—salty, slovenly, cynical. They're a dynamic dysfunctional duo. And while Jada Pinkett Smith's underworld boss Fish Mooney is tonally wonky, she's a bawdy blast nonetheless. The mystery of the Waynes' killing and the drama of the Penguin's ascendancy seem compelling fodder for season 1.
  14. It's funny, but it's not revolutionary.
  15. The writing can be smart and Feldman shows a real gift for playing neurotics whose grand flourishes will strike women as either romantic or totally creepy.
  16. The twist here is that on top of the jokes, Cristela has things to say, and it says them in English and Spanish. Fortunately, it's pretty funny in both languages.
  17. By episode 3, Homeland starts connecting. A murder mystery becomes intriguing, key franchise assets (including Mandy Patinkin's Saul) are plugged directly into the main narrative, and a new agent (Michael O'Keefe) provides a welcome spark.
  18. BoJack hits funny bones hardest when it loads up on background gags--for example, the fact every character has a terrible ringtone provides surprisingly rich humor as the six episodes advance. [22/29 Aug 2014, p.100]
    • Entertainment Weekly
  19. History? Possibly. Trash? Definitely. Fun? Pretty.
  20. When the focus is on the magic, Wars can be spellbinding--when it's not, irksome questions arise.
    • 77 Metascore
    • 75 Critic Score
    The series is skillfully directed and packed with decades-spanning trivia, but it isn't the immersive expose it could be. [17 Oct 2014, p.62]
    • Entertainment Weekly
  21. The cinematography is beautiful, with the present cast in a melancholy blue and the past cast in yellow, as if to remind us that terrible things are done in broad daylight. Some minor characters are intriguing.... But The Missing doesn't have much to say about the loss of a child beyond that it's an Unbearable Tragedy.
  22. By making Ben Gideon the head of a teaching hospital, [Paul] Attanasio created the opportunity for Braugher to use his grave, grandly expressive voice to deliver long speeches to a classroom of awestruck medical students. Unfortunately, what Attanasio intends as a showcase — a gift to both his star and his audience — ends up making Gideon seem like a boring gasbag.
  23. Charmed is a bit thin in the plot department; the main things it has going for it are the sisters' pulchritude and the presence of Doherty, who is that rare item: a TV star who succeeds on the strength of her vitriol.
  24. Groening has created a group of characters whose personalities and motives are more vivid and detailed than the vast majority of sitcoms featuring flesh-and-blood actors.
  25. Shoot's debut episode was smart, funny, and whiplash fast. ... Watching two subsequent episodes, though, I was dismayed to see how quickly Shoot deteriorated.
  26. There's just not much chemistry between Daly and Weber; if anything, it's all too easy to see why Weber's character gets on Daly's nerves. But given the talent involved, it's reasonable to hope this problem will be worked out.
  27. What's missing in Mad About You is... madness. Unlike Seinfeld, it lacks the loopy quality — an affinity for the absurd — that regularly enables Jerry and his wacky pals to transcend the mundane. Already, a pattern is emerging in Mad: The best episodes are the ones in which Paul's whining finickiness annoys not only us viewers but Jamie as well.
  28. Hey, I make fun of Melrose Place — but I'm hypnotized by it. As warm-weather escapism, it takes all the issues facing this country, from unemployment to sexual harassment, and turns them into crises that can be solved in an hour. ... The show's most glaring flaw is that, like 90210, Melrose Place doesn't have a clue how to handle minority characters.
  29. This is now the problem with '24': The first season was a giddy novelty; the second season was a guaranteed tune-in to see if the producers could pull off the same trick twice. But now we know the rhythm of the series, and so its anything-can-happen energy has dissipated into a how-can-we-bring-back-fan-favorites waiting game.

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