Entertainment Weekly's Scores

For 3,134 reviews, this publication has graded:
  • 80% higher than the average critic
  • 1% same as the average critic
  • 19% lower than the average critic
On average, this publication grades 5.3 points higher than other critics. (0-100 point scale)
Average Music review score: 77
Highest review score: 100 Gung Ho
Lowest review score: 0 Playing With Fire
Score distribution:
3,134 music reviews
    • 53 Metascore
    • 33 Critic Score
    Embarrassing.... It's hard to tell if [Ballard's] hyper-slick style is to blame, or if Lynne has simply hung herself. [16 Nov 2001, p.172]
    • Entertainment Weekly
    • 47 Metascore
    • 33 Critic Score
    Amounts to nothing more than a party of five million bland cliches. [11 Oct 2002, p.82]
    • Entertainment Weekly
    • 57 Metascore
    • 33 Critic Score
    The band has never seemed so stale. [14 Mar 2003, p.66]
    • Entertainment Weekly
    • 68 Metascore
    • 33 Critic Score
    Without any real scream-along, kick-ass songs, this is just a One Way Ticket to Hell. Period. [2 Dec 2005, p.81]
    • Entertainment Weekly
    • 51 Metascore
    • 33 Critic Score
    As tedious as an episode of Teletubbies--and nearly as simplistic. [13 Oct 2006, p.131]
    • Entertainment Weekly
    • 39 Metascore
    • 33 Critic Score
    The pair have an MTV reality show, which only reminds us we'd probably be better off listening to one of the dudes from "I Love Money." [22/29 Aug 2008, p.125]
    • Entertainment Weekly
    • 73 Metascore
    • 33 Critic Score
    Hazards of Love drowns in convoluted plots, blustery guest vocalists, and comically out-of-place guitar shredding.
    • 37 Metascore
    • 33 Critic Score
    A nimble, almost balletic rapper on countless mixtapes, singles, and Billboard-topping collaborations, the 27-year-old comes across both muddled and belligerent on the much-delayed, extensively leaked Rebirth.
    • 58 Metascore
    • 25 Critic Score
    File under: Bunkum. [21 June 2002, p.84]
    • Entertainment Weekly
    • 73 Metascore
    • 25 Critic Score
    [Its] Atari-quality grooves and soulless Berlin homages reek of '80s hipster trash. [4 June 2004, p.80]
    • Entertainment Weekly
    • 56 Metascore
    • 25 Critic Score
    If only they didn't sound like a dying Flock of Seagulls. [17 May 2002, p.78]
    • Entertainment Weekly
    • 41 Metascore
    • 25 Critic Score
    Unless you're bound in an herbal body wrap, there's simply no acceptable reason to listen to this New Age nonsense. [11/24/2000, p.82]
    • Entertainment Weekly
    • 81 Metascore
    • 25 Critic Score
    The songs combine the most pretentious and overworked elements of their influences. [21 Mar 2003, p.112]
    • Entertainment Weekly
    • 49 Metascore
    • 25 Critic Score
    Korn remain technically proficient, but Take A Look In The Mirror serves only to make the case that the genre has officially screamed itself into caricature. [12 Dec 2003, p.77]
    • Entertainment Weekly
    • 51 Metascore
    • 25 Critic Score
    The ideas are thin and the beats thinner. [14 Mar 2003, p.66]
    • Entertainment Weekly
    • 56 Metascore
    • 25 Critic Score
    It's not that this wise ass trio of lucky punks make terrible music -- their crass, hyperkinetic tunes are just the thing for adolescents who find Green Day too intellectually challenging -- but this collection is wholly unwarranted from a band whose breakthrough album is barely a year old.
    • 49 Metascore
    • 25 Critic Score
    His indie-circuit friends will be amused, but no one else will. [4 Mar 2005, p.73]
    • Entertainment Weekly
    • 67 Metascore
    • 25 Critic Score
    Full of screeching, hollering, and contrived "yo' mama" jive talk. [27 May 2005, p.141]
    • Entertainment Weekly
    • 61 Metascore
    • 25 Critic Score
    An awkward attempt that neither improves upon nor updates the trio's original blueprint. [28 Oct 2005, p.89]
    • Entertainment Weekly
    • 66 Metascore
    • 25 Critic Score
    Iggy sings ballads. In French. With clarinet solos. He also dabbles in Dixieland jazz, spoken word, and chilled electro-lounge music on his 15th solo album. If that sounds hideous, or hilarious, it's actually a little bit of both.
    • 59 Metascore
    • 25 Critic Score
    Not even superproducer Flood (U2, Depeche Mode) can save the postpunk singer from misery. Or from overacting.
    • 62 Metascore
    • 25 Critic Score
    There are only a few moments when Symphonicities doesn't seem completely preposterous.
    • 45 Metascore
    • 25 Critic Score
    The bulk of Lulu sounds like your dad's drunk friend reciting his self-penned erotica over a melting ReLoad cassette.
    • 60 Metascore
    • 25 Critic Score
    This feels lazy, smug, and fundamentally empty.
    • 45 Metascore
    • 25 Critic Score
    The songwriting is lazy ("I feel good," she coos, "'cause I don't feel bad." Logic!). The double entendres don't make sense (is "Troubeaux" what they call trouble in Bordeaux?). And the guest stars, including Nas, Rick Ross, and Iggy Azalea, are so much more engaging than their hostess that Lopez sounds like she's been relegated to playing the hook girl on her own album.
    • 76 Metascore
    • 16 Critic Score
    Cumulative effect? Soul-depleting. [1 Nov 2002, p.70]
    • Entertainment Weekly
    • 15 Metascore
    • 0 Critic Score
    Other rappers might hesitate to brag about marrying into bling, but Federline isn't self-conscious about it.