Entertainment Weekly's Scores

For 2,406 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 Roosevelts: An Intimate History
Lowest review score: 0 Justice for Natalee Holloway
Score distribution:
  1. Mixed: 0 out of 1853
  2. Negative: 0 out of 1853
1853 tv reviews
  1. Mistresses still passes the Bechdel Test; its strongest moments are when the women lean on each other. [30 May 2014, p.114]
  2. 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]
  3. Thanks to its cheap jokes and tired premises--it’s begging to be declared Unwatchable. [30 May/6 Jun 2014, p.113]
  4. A bout of scurvy would be more entertaining. [30 May/6 Jun 2014, p.113]
    • Entertainment Weekly
  5. Characters make long, passionate speeches that sometimes fail to register because they feel like lectures--though maybe Kramer’s message shouldn’t be so easy to hear.
  6. Labyrinth is neither absorbing enough to be good-good nor ridiculous enough to be bad-good.
  7. Petals isn't good enough to satisfy anyone's nostalgia, and it's not bad enough to be awesome. [30 May/6 Jun 2014, p.111]
  8. If you enjoy watching women snipe at each other no matter the context, then it likely won't matter; if you were hoping for something less conventional, it's tough not to be disappointed. [30 May/6 Jun 2014, p.113]
  9. 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.
  10. Clunky dialogue, clichéd relationships, and an escapist action-flick aesthetic combine to subvert the ambition for gritty realism. It requires stronger vision and voice, as well as more distance; it can't decide whether to be likable or prickly.
  11. It's a Frankenstory made with borrowed bits and recycled parts that could evolve into its own vibrant creation.
  12. Its main purpose is to confront the taboo, and whether that means exploring just how far Louie will go into the "experimental" side of masturbation in the season premiere or simply digging into his ugliest prejudices about overweight women, the show can be revelatory.
  13. There are enough deviations to keep horror aficionados at least mildly interested. [9 May 2014, p.61]
    • Entertainment Weekly
  14. [The premiere episode] begins with some decent gags (Maron wanting to profess his love with a toe ring!) before he gets to groaners.
  15. Gritty-smart horror that nicely complements BBC America's sci-fi sensation Orphan Black. [9 May 2014, p.57]
    • Entertainment Weekly
  16. The story is sweaty with provocative, post--al-Qaeda, post-Snowden security anxieties--drone warfare, abused surveillance, and secrecy--but the treatment so far is superficial and sensationalistic.
  17. Night One felt almost fully-formed, as if Oliver has spent his Daily Show tutelage making a list of everything that works-- and everything he wanted to do just a little bit differently.
  18. This series is both ambitious and overstretched. [2 May 2014, p.60]
    • Entertainment Weekly
  19. Credit the winning cast, especially Volk, and executive producer Carter Covington's sweet/snarky tone for a half hour viewers won't have to pretend to love.
  20. Meredith is a gold-digger, but when push comes to shove she chooses her students’ welfare over her ambition to become someone’s new wife. That is a pat resolution in a movie but not enough to sustain a series.
  21. Orphan Black has much on its mind, and maybe too much going on. But it knows to play to its amazing strengths--most of which are named Maslany.
  22. While not all of the ensuing skits work as well, plenty of gags land, ahem, hard. [18/25 Apr 2014, p.102]
    • Entertainment Weekly
  23. It has exactly three things going for it: Zoe Lister-Jones, Rick Donald, and the assumption that their next respective projects will be more entertaining than this. [18/25 Apr 2014, p.102]
    • Entertainment Weekly
    • tbd Metascore
    • 83 Critic Score
    Awkward is still as bitingly sharp as ever. [18/25 Apr 2014, p.100]
    • Entertainment Weekly
  24. The exposition-packed pilot at times resembles Rob Corddry's medical spoof Childrens Hospital. [18/25 Apr 2014, p.102]
    • Entertainment Weekly
  25. Big points go to savvy, fast-talking son Carter, who is just as entertaining as the (growing) pains of his old man. [18/25 Apr 2014, p.100]
  26. WGN America's first scripted drama is American Horror Story Lite, a conventional dark fantasy with an unconventional angle on history. [18/25 Apr 2014, p.101]
  27. The dark absurdist tone doesn't land quite as cleanly as in the film, and there's the enormous absence of goddess Frances McDormand, who brought such great plainspoken heart to the movie's otherwise bleak landscape.... But do keep watching, because the show boasts unique and satisfying hooks.
  28. Line for outrageous line, Veep is still a wickedly funny gut-buster. Yet while I could relate to Selina the perpetually marginalized chump, flailing to advance, Selina the stumping, power-grabbing candidate risks confusion.
  29. They reunite to help Bletchley alum Alice in a personal matter that grippingly involves an illegitimate child, a chemical spill and top secret military documents. [11 Apr 2014, p.60]
    • Entertainment Weekly

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