Entertainment Weekly's Scores

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For 3,519 reviews, this publication has graded:
  • 81% higher than the average critic
  • 1% same as the average critic
  • 18% lower than the average critic
On average, this publication grades 5 points higher than other critics. (0-100 point scale)
Average Music review score: 78
Highest review score: 100 The Idler Wheel Is Wiser than the Driver of the Screw and Whipping Cords Will Serve You More than Ropes Will Ever Do
Lowest review score: 0 Playing With Fire
Score distribution:
  1. Positive: 3,085 out of 3519
  2. Mixed: 407 out of 3519
  3. Negative: 27 out of 3519
3519 music reviews
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    • 47 Metascore
    • 58 Critic Score
    Almost Alice
    For music ostensibly inspired by a trippy fantasy, far too much here is depressingly ordinary.
    • 73 Metascore
    • 58 Critic Score
    Dirty Side Down
    The emphasis here is still on instrumental interplay; great for gearheads, a bit sleepy for everyone else. [28 May 2010, p.70]
    • Entertainment Weekly
    • 58 Metascore
    • 58 Critic Score
    Do You Know
    While it's nice to hear her pipes free of breathless pop production, it's a shame she ran with such bland, emotionally self-indulgent material for this crossover Do You Know.
    • 62 Metascore
    • 58 Critic Score
    Pray IV Reign
    These songs are still full of crude misogyny and tired concepts. Give Jones points for honing his craft, but he's got a long way to go.
    • 87 Metascore
    • 58 Critic Score
    Showtime
    These barren videogame shoot-out beats and textures don't do him justice. [17 Sep 2004, p.76]
    • Entertainment Weekly
    • 75 Metascore
    • 58 Critic Score
    Nineteeneighties
    Without exception, the well-chosen tunes become edgeless, pleasant downgrades of their remarkable originals. [30 Jun 2006, p.159]
    • Entertainment Weekly
    • 72 Metascore
    • 58 Critic Score
    Shangri-La Dee Da
    The grrr goes out of Shangri after the first few tracks. [22 Jun 2001, p.90]
    • Entertainment Weekly
    • 59 Metascore
    • 58 Critic Score
    Roses
    Stalwart fans may swoon, but Roses, like its title track, just kinda wilts.
    • 69 Metascore
    • 58 Critic Score
    Thank You for Today
    For a band once accustomed to emotional turbulence, Death Cab seems to have gone numb. They do occasionally attempt to surpass that newfound rut.
    • 57 Metascore
    • 58 Critic Score
    7 [EP]
    With 7, there’s too little conviction to tell if a full project is something Lil Nas X wants to do. At best, there’s a set of half-considered songs. At worse, you’re left wondering why anyone fussed over Blink-182’s Enema of the State in the first place. ... It's not the work of a star, but a timid upstart. [5 Jul 2019, p.42]
    • 60 Metascore
    • 58 Critic Score
    V
    V's spiraling, cathartic anthems often collapse under their own weight. [21 Sep 2001, p.84]
    • Entertainment Weekly
    • 60 Metascore
    • 58 Critic Score
    Magna Carta Holy Grail
    I rank this album alongside Kingdom Come, which in a way was a transitional album toward the superior Blueprint III. Like others, I see (perhaps wistfully so) MCHG operating as a sort of stopgap until he releases something great, like a Blueprint IV.
    • 64 Metascore
    • 58 Critic Score
    Ye
    We got a shockingly anodyne, non-political, briefly magnificent, half-finished piece of work.
    • 59 Metascore
    • 58 Critic Score
    Blurred Lines
    The problem's not merely that Thicke has doused himself in too-strong cologne. It's how predictably it all fits with his frictionless boutique-lounge grooves.
    • 68 Metascore
    • 58 Critic Score
    Angel Of Retribution
    The bummer is the derivative material, which sounds a bit Spinal-tapped out. [25 Mar 2005, p.73]
    • Entertainment Weekly
    • 52 Metascore
    • 58 Critic Score
    20 Y.O.
    Sharp production can't mask the absence of any standouts likely to be remembered 20 months from now.
    • 76 Metascore
    • 58 Critic Score
    My Name Is Buddy
    Cooder's guitar work is lyrical as always, but the songs... are oppressively cutesy and faux naive. [9 Mar 2007, p.109]
    • Entertainment Weekly
    • 63 Metascore
    • 58 Critic Score
    Hands All Over
    Hands, competent and studio-sleek as it is, too often begs for a fresher muse.
    • 55 Metascore
    • 58 Critic Score
    Haunted Cities
    Think of them as a slightly above-average combo of the Clash, Fun Lovin' Criminals, and some snotty band from the burbs. [24 Jun 2005, p.164]
    • Entertainment Weekly
    • 63 Metascore
    • 58 Critic Score
    Identified
    Right now, this High Schooler's musical graduation is stalling somewhere around sophomoric.
    • 68 Metascore
    • 58 Critic Score
    Go Away White
    White doesn't quite make good on that potential, the guitar fuzz is too restrained, while Peter Murphy's vocals evoke David Bowie doing funny grandpa voices. [7 Mar 2008, p.93]
    • 59 Metascore
    • 58 Critic Score
    Land Air Sea
    Alas, those wondering where Weezer would be without Cuomo's most delicious hooks will learn that, too. [23/30 Jan 2004, p.99]
    • Entertainment Weekly
    • 52 Metascore
    • 58 Critic Score
    Size Matters
    An occasionally catchy but ultimately bland attempt at recapturing past glory. [8 Oct 2004, p.114]
    • Entertainment Weekly
    • 81 Metascore
    • 58 Critic Score
    Get Behind Me Satan
    Get Behind Me Satan is surprising, all right, but not always in the right ways.... Too many of the tunes--and Jack's lyrics--are undercut by lurching, half-finished arrangements. [10 Jun 2005, p.105]
    • Entertainment Weekly
    • 58 Metascore
    • 58 Critic Score
    Free Spirit
    It's frustrating, then, that Free Spirit's sanded-down sprawl more often than not threatens to suffocate any presence of a personality imbued in the music itself.
    • 47 Metascore
    • 58 Critic Score
    Amaryllis
    Their fourth album genuflects once again to the standard over-revered '70s idols. [301 Mar 2012, p.75]
    • Entertainment Weekly
      • Posted Mar 28, 2012
    • 70 Metascore
    • 58 Critic Score
    #1
    It's both impressive and pointless. [28 Feb 2003, p.79]
    • Entertainment Weekly
    • 75 Metascore
    • 58 Critic Score
    Ego War
    The mix never really jells. [13 Jun 2003, p.96]
    • Entertainment Weekly
    • 62 Metascore
    • 58 Critic Score
    Born to Die
    All tabloid tawdriness aside, she unleashes some truly A-level songs. But 
its baffling failures drop Die to a middling, maddening C+.
    • 57 Metascore
    • 58 Critic Score
    Chickenfoot
    'Avenida Revolution,' which concerns the Tijuana drug wars, is a tiresome slice of sub-Metallica rock. But more upbeat tracks like 'Sexy Little Thing' boast the kind of party-happy groove you might expect from a band whose frontman is almost as famous for ?tequila as music.
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