Entertainment Weekly's Scores

For 2,124 reviews, this publication has graded:
  • 65% higher than the average critic
  • 14% same as the average critic
  • 21% 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: 73
Highest review score: 100 Twin Peaks: Season 1
Lowest review score: 0 Justice for Natalee Holloway
Score distribution:
  1. Mixed: 0 out of 1624
  2. Negative: 0 out of 1624
1624 tv reviews
  1. The best series on TV, period. [15 Sep 2006, p.63]
    • Entertainment Weekly
  2. The four-part docuseries begins with ''The Memory Loss Tapes,'' a moving look at the disease's progression through seven patients at various stages. It's not a question of if you'll cry, it's how soon.
  3. Sin City dazzle adds spice to the cooking competition's season 6 premiere....But it's the fresh crop of cheftestants that'll really whet your appetite.
  4. One of the best things about the second season of Frasier is the way the series has come to mix its high and low humor.
  5. No show this side of Seinfeld loves the language of conversation (the wisecrack, the pun, the withering retort, and the muttered aside) as much. ... Week in and week out, Buffy just slays me.
  6. A delicious deep dive into six Stephen Sondheim songs.
  7. Dark, textured, and lively--this is how Dickens is done. [20 Jan 2006, p.66]
    • Entertainment Weekly
  8. Right now, the show is probably as good as it's ever been.
  9. The series is full of surprises ... And as Tony, Gandolfini gives a magnificently shrewd, wary performance. If, like me, you thought you never wanted to watch another Mob story, be sure to check this out.
  10. In the last third of the season, NYPD Blue was as good as it's ever been: more action to go with the already terrific dialogue; more unexpected twists from a show that could have easily let up on its twisting in its second season. ... If you tuned away from NYPD when [David] Caruso left, now's the time to catch up.
  11. If you think Garry Shandling must be running out of ways to deconstruct show business, you're wrong. This will probably prove the most fearless half hour of comedy all year.
  12. Once and Again is worth viewing again and again. This subtle family drama has recently risen to greater heights of emotional richness.
  13. A terrific blastoff. ... Groening, deeply influenced by the paranoid fantasies of writer Philip K. Dick, the dystopian surrealism of the Firesign Theatre, and every cornball sci-fi movie, creates an airy atmosphere ripe for satirizing our love of computer technology.
  14. Bored has its distinctive brand of slapstick noir down pat. Its charm is in the details. [9 Oct 2010, p.69]
    • Entertainment Weekly
  15. It's getting difficult to keep coming up with superlatives for this sophomore-season drama, especially with a thrilling and tantalizing episode like tonight's.
  16. This season, the show's only gotten better — deeper, richer, more true to its guiding intention of presenting people with Texas twangs as something other than the media cliche of rubes with bad taste.
  17. There's a lot to love about Murder One, bless its parodically sleazy, shrewdly opportunistic, talent-engorged heart.
  18. Instantly addictive.
  19. Neither fully a comedy nor a drama, Transparent is simply transcendent. [19/26 Sep 2014, p.123]
  20. It's the sarcasm (see: Adam Scott), smart dialogue, and refreshing take on the workplace comedy that make the somewhat depressing premise a totally raucous party.
  21. [Herskovitz and Zwick] have transcended their occasional tendency toward both pretension and sentimentality to come up with a brave, bracing show — one that is, like their previous work, unafraid to make white, middle-class, suburban people look like the infuriating, interesting wrecks they so often can be.
  22. The X-Files is hitting the ground running—albeit knee-deep in murk and murder, conspiracy and cosmic confluences.
  23. The underrated bigamy show returns from a too-long hiatus with a plot-packed season 3 opener, and, not for the first time, the females deliver the best moments.
  24. 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.
  25. This may be the first TV show since Pee-wee's Playhouse to treasure youth even as it embodies all of its contradictions, craziness, hopes, and fears (and I'd like to point out that Freaks is the only hour-long sitcom I've ever seen that sustains funniness for its full 60 minutes).
  26. Who killed Laura Palmer? Many viewers, tired of the hype, are saying, Who cares? I say it too, but as praise. Plot is irrelevant; moments are everything. Lynch and Frost have mastered a way to make a weekly series endlessly interesting.
  27. Seinfeld is now a revitalized show, snappy and gratifyingly complicated once more.
  28. This series has become as dependably amusing as any show on television.
  29. Hannigan gets a preemptive EW Emmy award for best supporting actress this year. Whether weeping over a breakup with her werewolf boyfriend, Oz (Seth Green), or offering dating advice to Buffy suitor Riley Finn ('She likes cheese!'), this Willow does not bend from the challenges she's been handed.
  30. It's becoming obvious that The Simpsons, now in its second season, isn't just a product of media hype: Matt Groening's cartoon family is one of the few current works of popular art that possess wit and integrity.
  31. The terrific thing about the new season, starting with the introduction of Weaver [Laura Innes], is that personalities on ER have become as complicated and messy as brain surgery.
  32. Well into its third season, X-Files shows no sign of flagging inspiration; its ability to find paranoia in the paranormal appears to be limitless.
  33. New Girl stokes comeback hopes with an inspired season 4 premiere.
  34. Miraculous ... One of the myriad greatnesses of The Sopranos is that, to paraphrase the Godfather paraphrase that Steven Van Zandt's Silvio frequently quotes, it keeps pulling you back in — back in on yourself, appealing to your basest instincts, to your fundamental urge to hear a bloody story well told.
  35. The playful atmosphere of Now and Again provides a blissful kick unlike anything else in prime time.
  36. Slowly, a smartly constructed epic is taking shape.
  37. Homicide seems to have found just the right balance: Almost every week, it is as well acted and tough-minded as it ever was, while also offering the sort of snappy stories that can grab any viewer looking for merciful relief from the mannered eccentricity of that icky Picket Fences.
  38. Lean and gratifyingly mean ... uncommonly sharp.
  39. An enthralling recollection of a tragic mess with a long legacy, The People v. O.J. Simpson fits our moment like a glove.
  40. Fresh reporting and candid interviews make the trial newly compelling and illuminate its outcome. But it's the lesser-known players, including jurors and marketing agents, who provide provocative insights into the tragic saga of compounding historical injustices that implicate all of American culture. [3/10 June 2016, p.100]
    • Entertainment Weekly
  41. It's loose and rambling; its dramatic climaxes don't coincide neatly with the conclusion of any given episode. Its dialogue, overseen by creator David Simon ... is so good it often sounds improvised. One criticism of the show I've read is that it's repetitive (in showing the slow process of how the police bring down bad guys). But what those critics don't get is that those qualities are exactly what make 'The Wire' the funkiest cop show on TV.
  42. Hannibal captures your imagination with the prospect of Graham using his imagination to figure a way out. [28 Feb 2014, p.65]
    • Entertainment Weekly
  43. Six hours of raucous laughter, bone-rattling suspense, and god-awful tragedy. ... The Corner is a marvel of craft.
  44. There's a sense in which the lag in time between the third and fourth seasons has resulted in scripts that have been too carefully crafted; the ironies and parallelisms are sometimes overworked, excessively neat. ... Still, 'The Sopranos' -- bursting with livid energy and daringly rotten at its core -- is full of scenes that'll leave you breathless in their audacity, goofball non sequiturs, and profound cynicism.
  45. You know this Dr. Who spin-off aims to please when the return of Capt. Jack Harkness (John Barrowman) isn't even the big news.... With [Capt.] John [James Marsters] adding such a fun, unhinged element, it's a shame these two crazy kids broke up in the first place.
  46. If Brotherhood isn't as brilliant as The Wire, it's just as believable. The cast is so solid.
  47. Horgan and Delaney, who wrote the show together, play their characters off each other to perfection. The result may well turn out to be the worst--by which we mean the best--new comedy of the year. [19 Jun 2015, p.56]
    • Entertainment Weekly
  48. The sheer number of plotlines can be overwhelming, but the images--flowers dropped on the side of the road, a dusty van sliding away--are relentlessly riveting. And the series only gets better from here. [5 Oct 2007, p.66]
    • Entertainment Weekly
  49. The mystery of just what happened to the child unspools almost languidly against the backdrop of wild and gorgeous New Zealand country. The ugliness of humans amid such beauty resounds like a cold slap.
  50. The film is a wonderful trip down the magazine's fabulosity-paved memory lane.
  51. A propulsive, plot-driven narrative and performances remarkable for their emotional depth and physicality keep you constantly engaged. A strong imagination for the slave experience—their ambivalence about the Revolutionary War; their attitudes about love, family, religion—yields dramatic richness and cultivates great empathy.
  52. Everwood ain't brain surgery, but that's also what helps make it an easygoing charmer.
  53. This portrait of a profane, low-down egomaniac--excuse me, he prefers "Christ figure"--continues to amaze. McBride's willingness to play depression, amorality, and selfishness for laughs is awesome.
  54. Ferrell's genuine reverence for the national pastime and his noble goal make it a breezily feel-good hour. [11 Sep 2015, p.55]
    • Entertainment Weekly
  55. A devastating deconstruction of the double standards women face in the entertainment industry, and a touching valentine to a grownup friendship that's weathered rough times. [11 Sep 2015, p.56]
    • Entertainment Weekly
  56. The depth of Westworld lies not in asking questions about memory, free will, and what makes us human, but in whether we can become more human than what we let ourselves to be, whether our stories can be richer and more meaningful than what the culture allows.
  57. The Jinx might make amateur sleuths of us all. But judging by this gripping, stranger-than-fiction detective story, Jarecki’s the real thing.
  58. Such a nice surprise: A sharply written show about a mother-daughter relationship filled with vibrant emotions instead of cheap sarcasm.
  59. The series shows the darker side of Belle's work without getting into that porno-punishing crap so often disguised as morality lessons. The series, like Belle, is far too smart to succumb to such an average attitude.
  60. The stunningly shot result will make you wonder at the cruel beauty of nature. [16 Mar 2012, p.67]
    • Entertainment Weekly
  61. Though the premiere's ending has been mostly spoiled by the marketing for the new season, every moment watching the hopefuls fight for their dream and navigate the foreign waters of the movie industry--like when the winner demands to shoot the small-budget project on 35mm film--is completely absorbing. [11 Sep 2015, p.56]
  62. Who says TV doesn't make history thought-provokingly exciting?
  63. This political satire operates at a level of sharpness that American television hasn't seen since Robert Altman's HBO miniseries Tanner '88.
  64. All this tension turns out to be great for the show's pulse, which had been fluttering last season. In too many of season 7's adventures, Duchovny and Anderson looked as if they'd been asked to go investigate who shot J.R. Ewing; their boredom was showing. ... [This season's first two episodes discover] a new force field of energy.
  65. The continually surprising comedy returns in fantastic form. [31 Jul 2015, p.55]
    • Entertainment Weekly
  66. It's a very funny show about how hard it is realizing you've become a cliché: the useless husband, the naggy wife, the insufferable couple on the sitcom.
  67. With fewer constraints, the show has more room to breathe, making it feel less rushed and chaotic. [11 Sep 2015, p.56]
    • Entertainment Weekly
    • tbd Metascore
    • 91 Critic Score
    In the second go-round for Seinfeld, the star seems more relaxed and confident, and there's a bracing snap to the byplay between him and his costars.
  68. The jail's real breakout stars remain Lee Tergesen and J.K. Simmons as Tobias Beecher and Vern Schillinger.
  69. It's the fall season's most intriguing, tense puzzler.
  70. This excellent six-part series brings the statesman's [Thomas Cromwell's] shady story to light with wit, empathy, and even surprise. [3 Apr 2015, p.59]
    • Entertainment Weekly
    • 83 Metascore
    • 91 Critic Score
    The first of Mad Men’s final seven episodes is as fine as a silky fur, give or take a hilariously hideous period mustache and some too-on-the-nose lines and symbolism.
  71. Keri Russell's title character is one of the few interesting characters on television who's also purely good ... It is one of the great strengths of this series that sap and sentiment are explored with varying degrees of realism, humor, and seriousness that lesser shows shrink from even attempting.
  72. It's a smart show that plays dumb at first, just to get your attention. Masters may not yet be as groundbreaking as the true drama that inspired it. But like Betty, it knows how to fake it until things get real.
  73. It's Quantum Leap meets The Streets of San Francisco--with narry a C, S, or I in sight. [28 Jul 2006, p.56]
    • Entertainment Weekly
  74. A trite, untrue mental-illness mystery insults the show's high IQ, but doesn't diminish the opener's capture-the-imagination thesis: that a redeemed House can be just as compelling as a rude House.
  75. Cosmos captures the imagination anew by celebrating imagination itself as an essential tool for a deeper, more truthful understanding of life. [7 Mar 2014, p.60]
    • Entertainment Weekly
  76. While pop-culture touchstones from Dallas to Twin Peaks shrivel up and die, L.A. Law just keeps getting juicier.
  77. Sherman-Palladino writes in such a distinctive 'voice' that denying her the same kind of artistic credit that, say, Aaron Sorkin or David Chase take as their due only hints at the unspoken sexism in the television industry and the press.
  78. With Rescue Me, [Leary] redeems himself by doing what we always suspected he could do: really act.
  79. Thanks to frequent backstabbing, heavy-handed symbolism, and Spacey’s deliciously hammy performance, House of Cards works best as a mordantly funny melodrama.
    • tbd Metascore
    • 91 Critic Score
    Kroll's an incredible small-screen Sybil, and you'd be nuts not to tune in for his last hurrah. [16 Jan 2015, p.69]
    • 67 Metascore
    • 91 Critic Score
    Thank you, HBO, for airing Australia's outrageous Office-like, eight-part high school mockumentary, rather than getting a lesser comedian to do an American version.
  80. The continued ooey-gooey goodness of TV's best family drama is particularly satisfying tonight, spotlighting story lines from the underutilized Joel (Sam Jaeger) and the oddly interesting Crosby (Dax Shepard).
  81. 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]
  82. It's grim but exhilarating: a portrait of an artist chronicling despair.
  83. Paying close attention to SOA's array of outlaws makes the series an even more richly detailed portrait of self-righteous villainy.
  84. MasterChef Junior exults in the joy of cooking, the joy of childhood, and the joy of treating people decently.
  85. Terrific ... It's often witty and exhilarating, and most of this material isn't kid stuff. ... With all this artistry crammed into a half-hour chunk each week, Liquid Television certainly entertains, but it also does something that MTV isn't exactly famous for: It provokes thought.
  86. They're at their ridiculous best.
  87. Any fears you had that marriage and a baby would dull the sharp edge of Dexter--I admit it, I was worried--have been thoroughly allayed by season 4's wonderfully swift, witty, and violent start.
    • tbd Metascore
    • 91 Critic Score
    Hipper than Saturday Night Live, cooler than Arsenio Hall, filled with more pop references than The Andy Warhol Diaries, MST is the perfect postmodern comedy.
  88. I was worried the departure of Bethenny (who's living happily Ever After) would cripple these Housewives beyond repair. No need to fret! There's still plenty of delicious drama flowing from the NYC grid thanks to oversexed Sonja, bulging-eyed winemaker Ramona, and blonder 'n' bitchier Alex.
    • 50 Metascore
    • 91 Critic Score
    It's clever [and] a little dark. [29 Sep 2006, p.72]
    • Entertainment Weekly
  89. An utterly absorbing nighttime soap ... Really, if you're not watching 'Everwood,' you're not missing a guilty pleasure: You're missing pure pleasure.
  90. Think Big Love-meets-Carnivale and you're in the ballpark, but The Riches boasts its own weird, violent, druggy, hilarious mix. [16 Mar 2007, p.63]
    • Entertainment Weekly
  91. Season 3 of Orange might be a slow peel with some sour bites, but its overwhelming richness reaffirms its standing as one of television’s ripest, zestiest shows.
  92. About Face is raucous and lovely. [3 Aug 2012, p.69]
    • Entertainment Weekly
  93. What makes Veronica so strangely touching is that on a larger scale, her quest mirrors the common teen conundrum: My family's screwed up, and I'm not cool enough. How can I fix it?
  94. The lack of polish makes Vice all the more riveting. [5 Apr 2013, p.63]
    • Entertainment Weekly

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