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 Seinfeld: Season 3
Lowest review score: 0 Justice for Natalee Holloway
Score distribution:
  1. Mixed: 0 out of 1800
  2. Negative: 0 out of 1800
1800 tv reviews
  1. Like last season, the plots are thick and quick-flying. (Also like last season, the abstruseness can sometimes feel showy.)
  2. Season openers don't get much more incendiary: There are severed feet, a ''beef'' between rival Armenian, Mexican, and Salvadoran gangs, and a murder committed by another member of Vic's Strike Team.
  3. Rarely does a pilot present a world as completely as Nashville does in its first hour.
  4. By concentrating on what it means to practice polygamy in the 21st century, the series again comes close to achieving its goal of defining what it means to be a family.
  5. Yes, anything can happen in Bamford's world, and that sense of endless possibility make Lady Dynamite a joy to watch. [20 May 2016, p.50]
  6. Interesting? Yes. But fitfully involving. The intrigues are small, slow-moving, and fuzzy.
  7. Dear White People gives you an abundance of characters to care about and entertains with its inspired, hilarious storytelling. Simien keeps and hones the heightened reality style of his film. The meticulous compositions and meta-awareness are reminiscent of the Coen brothers and Spike Lee.
  8. 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.
  9. Bright Lights is one last home movie for the both of them, more honest and complete in the telling.
  10. Despite all the repetition and longueurs, this Downton Abbey frequently works, as the first one did, as a peppery little trifle.
  11. 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.
  12. 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.
    • 85 Metascore
    • 91 Critic Score
    For such a quick-witted comedy, the eight episode commentaries aren't as sharp as you'd expect, and Carell is entirely absent. But some three hours of deleted scenes--funnier takes of already hilarious sequences, beefed-up stories for the supporting cast--compensate.
  13. If the hospital staff is desensitized to basic human dignity, the show makes sure its audience never is. [14/21 Nov 2014, p.100]
  14. It sounds heavy, yet the premiere is as buoyant as it is deep, light as it is layered. It is many things at once, including absolutely fantastic.
  15. This political satire operates at a level of sharpness that American television hasn't seen since Robert Altman's HBO miniseries Tanner '88.
  16. What follows isn't just a satire of the ESPN lifestyle but a smart, savvy depiction of the camaraderie people of color sometimes develop when they find themselves in lily-white environs. [21/28 Aug 2015, p.95]
    • Entertainment Weekly
  17. A delicious deep dive into six Stephen Sondheim songs.
  18. A searing, humane drama that succeeds at making urgent, artful pop culture by engaging the world, not looking away from it.
    • 85 Metascore
    • 83 Critic Score
    True to form, Broadchurch ducks and weaves with a gripping mix of suspense and red herrings. [30 Jun 2017, p.55]
    • Entertainment Weekly
  19. The adults' heated conversations can feel more like textbook debates than natural dialogue. But the acting is phenomenal. [8/15 Jan 2016, p.97]
    • Entertainment Weekly
  20. Going deep allows Armisen and Brownstein to really dig in--the duo deserve Emmy attention, IMHO--and enhances, not diminishes, Portlandia's winningly weird shine. [9 Jan 2015, p.74]
  21. If Going Clear were a Hollywood thriller, I’d complain that it’s too over-the-top. But this is real life, which is hard to believe. And it’s disturbingly good. [20/27 Mar 2015, p.95]
  22. What followed was one of the most confident premieres in this suddenly never-ending phase of late-night debuts.... Full Frontal already feels like an essential voice in this political year.
  23. While always winning, Take My Wife is zestier when Rhea and Cameron are just living, not making points. [12 Aug 2016, p.55]n
    • Entertainment Weekly
  24. Some viewers may find The Killing a little too cold and deliberate, but give it time. Its intensity builds steadily, giving the series unexpected power.
  25. The series doesn't have a plot so much as a beautifully tangled web of deception, cruelty, and faded hopes. ... There are times when EZ Streets seems like the world's longest Bruce Springsteen video.
  26. Now in its third season, Hannibal remains the most engrossing (and gross) serial-killer drama on television, and the most beautiful. Here, the acid never stops kicking in.
  27. [When] all four of the weirdo personalities arrive in the last few minutes, fully energized and ready to help her navigate her dark ride through academia. It's clear then and there it's gonna be a wonderful season.
  28. Against all odds, Sports Night is a home run, a hole in one, a touchdown — at once the most consistently funny, intelligent, and emotional of any new-season series.

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