Entertainment Weekly's Scores

For 2,073 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 7.7 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 1586
  2. Negative: 0 out of 1586
1586 tv reviews
  1. What's clear about the current version of SNL is that the show has, to a large extent, sacrificed brilliance for consistency — you don't get extreme highs and lows, but you can watch comfortably, knowing that Hartman and company are giving you what David Letterman calls "solid, professional comedy."
    • tbd Metascore
    • 83 Critic Score
    It's refreshing and moving to see a celebrity on such a raw, human level--even if it reinforces the belief that famous folks are still cooler than us.
  2. [It] sometimes tries a bit too hard. Mellow out, dudes--we're addicted already. [18 Aug 2006, p.128]
    • Entertainment Weekly
  3. Creator Christopher McQuarrie (The Usual Suspects) is no stranger to pretzel-twist plots and out-of-the-left-field surprises, and his new series, about a gaggle of strangers, abducted and abandoned in a CCTV-monitored ghost town, promises both in spades.
  4. If you can get past the notion of Nighy being irresistible to every woman he encounters (I almost did), you'll get caught up in the carefully modulated intrigue.
  5. Creator Kyle Killen has set up a provocative, appealing puzzler, full of knottiness for the intellect and emotion for the heart. [2 Mar 2012, p.70]
    • Entertainment Weekly
  6. Whether the 'Greenlight' gang intentionally gambled on the dark horses in the hopes of winding up with a more compelling TV show, we'll never know. But as interesting and informative as it would have been to watch a levelheaded and talented filmmaker tackle his or her first studio project, it would pale in comparison to 'Efram and Kyle's Big Adventure.'
    • 79 Metascore
    • 83 Critic Score
    The reliably hilarious supporting cast of family members and friends--quirky without being cartoonish--makes a creaky zit subplot forgivable.
  7. Director Dee Rees lends the film grit, even when it's singing a familiar tune. But this is really a showcase for the actors. [15 May 2015, p.54]
    • Entertainment Weekly
  8. Overall, Dallas is a solidly constructed soap opera with strong dialogue and oily plot twists. [15 Jun 2012, p.72]
    • Entertainment Weekly
  9. The real laughs come from seeing so many famous people in absurd situations waxing nostalgic for the age of the melodrama, hen the romance was good, the green screens were bad, and the fashion was even worse. [10 Jan 2013, p.67]
  10. 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.
  11. While Everybody doesn't yet have top-notch writing, Romano manages to communicate something distinctive: He plays a beleaguered family man, but one who's happy about it. Not a dope and not a weasel, he's a fellow accepting his responsibilities. Ain't that unusual?
  12. Cheesy? Sure. But there's enough sword-clanging Action--not to mention homoerotic tension--to keep viewers happily entertained for a spell.
  13. The twists and turns are sure to tantalize true Farscape fans.
  14. AHS may no longer have the element of surprise on its side, but it remains, to quote the lyrics of a certain David Bowie tune performed by Lange, the freakiest show. One of us? Count me in.
  15. It has sharp writing and endearing characters.
  16. On the Air is unfunny, but not in a stupid Who's the Boss? way — rather, in a bizarre, so-corny-it's-surreal way.
  17. The first season's episodes were, in a sense, edited backward: Knowing who was going to be voted off, each show's footage was cut in a way that demonstrated why the expulsion was inevitable. The tribes' motives were made clear, which ensured satisfying drama. In Outback [season 2], Burnett and his bunch are tossing us red herrings, to make the voting impossible to predict.
  18. Ilana Glazer and Abbi Jacobson begin their third just how you'd expect. [19/26 Feb 2016, p.109]
    • Entertainment Weekly
  19. Still humming along, L&O has become the ultimate comfort show: Every week it offers a new crime cut, dried, and shelved, making the series a handy, self-contained alternative to all the serial dramas with their demanding mythologies.
  20. Diaries promises us a season of sharp-tongued amusement.
  21. Whenever it sticks closely with the Crane brothers ... this likely final season of 'Frasier' often ranks with some of the series' best work.
  22. The resolution with the ghost is plenty satisfying, but ultimately Medium's strength is that it's not about the ghosts.
  23. Best moment: a runway walk with the contestants strutting inside inflatable balls. Please do make up your own joke about that.
  24. Between Laurie's more-great-than-good doctor and cases that encompass everything from bad ham to complete body meltdown, House preys on all that's wrong (and some of what's right) with modern medicine.
    • 69 Metascore
    • 83 Critic Score
    If it sticks with the quiet, string cheese moments, it could end up being an understated--but provocative--must watch.
  25. The fourth season of Justified gives us exactly what we want: much laconic tough-guy humor from Timothy Olyphant's U.S. marshal Raylan Givens, much grandiloquent nastiness from Walton Goggins' drug dealer Boyd Crowder, and much swift violence.
  26. While short of magical, Jonathan Strange & Mr Norrell is nonetheless an enjoyable enchantment.
    • tbd Metascore
    • 83 Critic Score
    This season, pesky plot points get spun in fruitful new directions.
  27. Although Millennium hasn't quite found its tone, it's got great visuals and a commanding performance by Henriksen.
    • tbd Metascore
    • 83 Critic Score
    [This] season ... has mercifully toned down last year's shrillness.
  28. Not quite an Easy A, but certainly an easy B+.
  29. Marry Me wouldn't work without Wilson and Marino, who make Annie and Jake just cringeworthy enough to be funny.
  30. Atlanta is all about NeNe, who dominates the premiere by making up with Kim privately and breaking up with Dwight publicly. If the teaser is an indication, that's only a tiny fraction of the coming drama.
  31. Lilly's first cold case is so TV predictable, there's no way to watch it other than as just an excuse to showcase Kathryn Morris -- to establish her as an indelible presence we'll want to return to every Sunday night.
  32. 'Trace' understands that people watch weekly dramas to become involved in characters' lives, yet exec producer Jerry Bruckheimer and Co. have caught on to the idea that although we'd like a few clues here and there -- something to connect us to the characters -- we don't want to know too much. The mysteries should extend to personalities as well as to how crimes have been committed.
  33. A pleasant surprise: a drama about a rich, rule-breaking risk-taker (a saucy James Purefoy) that's not cutesy or predictable.
  34. It's a measure of how absorbing Hell on Wheels is that each of these characters has evolved into someone we know and, in varying degrees,m root for. [10 Aug 2012, p.65]
  35. The cast is charming and there's a refreshing honesty about Cam. [3 Oct 2014, p.67]
    • Entertainment Weekly
  36. Don't think Leverage is preachy--it's shrewdly conceived, and it moves along like a son of a gun.
  37. The real pleasure comes from watching the partners inhabit their characters' strengths and frailties.
  38. Everyone makes the nuttiness look easy. [10 Aug 2012, p.68]
    • Entertainment Weekly
  39. Brooks remains quick-minded and vivid. [14 Dec 2012, p.66]
    • Entertainment Weekly
  40. Oliver can get a little overbearing, as even his wife admits, just because he's always so darn earnest. But hey, in a world of Real Housewives and shirtless, brainless tandroids, thank God somebody is.
  41. Extremely well acted, 'Six' is a show I'll keep watching; I'm just not convinced it'll be sucking up the same pop-culture air that 'The Sopranos' did.
  42. Elegantly filmed, Medium is quite eerie when it stays within the chilly purview of its star.
  43. If the result is less rock & roll, both literally and metaphorically, than the director's films about the Band and Bob Dylan, it features an impressive list of interviewees, including Joan Didion and Michael Chabon.
  44. Recently, ... we've been treated to what we like best about 'CSI,' which is lots of novel deaths.
  45. If you buy the overwrought emotions so ornately expressed, you'll buy this TV movie's conviction. I was occasionally skeptical, but sold by the terrific performances.
  46. It's nice to see that after five seasons, Nip/Tuck's wit is still scalpel sharp.
  47. Things are cookin' on the new season of Shark Tank, especially when someone comes in to pitch the merits of his big invention: Wake 'N Bacon.
  48. That's where the fun of Work of Art resides, in convincing viewers that egomaniacal kooks can make good and bad art, and yes, there are standards besides split-second opinions.
  49. Arthur is a gripping, even frightful detective tale. [4 Sep 2015, p.58]
  50. With Bauer's audience-alienating daughter, Kim (Elisha Cuthbert), sent packing, the snazzy new cast members should keep the series moving at a nice clip.
  51. Its gimmicks are bolstered by vividly drawn protagonists and the show has a real understanding for the way L.A. can make you feel great — full of juice — while sucking you dry.
  52. One of the best things about Mom is that it isn't always funny. That's a compliment of course..... The darkly comedic season 3 premiere us a perfect example. [6 Nov 2015, p.57]
    • Entertainment Weekly
  53. Every so often, when the tension feels DefCon 1 high, there's a temptation to remind Sorkin that the fate of the free world isn't at stake. Then again, with such mesmerizing speed-bag dialogue, Studio 60 is a great case for taking TV seriously.
  54. Plotwise, OMO is purely silly, but it's also breezy, bitchy fun. [24 Jun 2016, p.53]
    • Entertainment Weekly
  55. You will feel guilty for laughing so hard, which is, I suspect, precisely the reaction David wants.
  56. Panettiere is deliciously manipulative, oozing faux sincerity as she pays tribute to her "friend" Rayna. And Esten brings the melodrama. The Scarlett/Gunnar/Avery triangle is tedious but at least Lamar gets a crazy plot twist. [20/27 Sep 2013, p.144]
    • Entertainment Weekly
  57. Host Graham Norton is a pro, able to score laughs from both elephant farts and the KKK in under 30 minutes.
  58. MTV's compelling docuseries continues with twin sisters who find their relationship strained when one gets pregnant and moves the baby's teen father into their house.
  59. The Pitch is an absorbing look at the frustrations and satisfactions of the creative process. [4 May 2012, p.65]
    • Entertainment Weekly
  60. Until we find out what happened long ago, we'll just enjoy watching all the beautiful, golden-tanned people say awesomely ridiculous things like: "These guys really put the suck in seersucker."
  61. Rivalries between Graham and fellow auction-house exec Roxanna (Kate Bosworth) generate suspense and it's fun to learn the history behind auction items. [20/27 Nov 2015, p.103]
  62. What gives Mad Men its zing is that play is part of work, sexual banter isn't yet harassment, and America is free of self-doubt, guilt, and countercultural confusion.
  63. Despite taking place during the king's historically yucky later life (sexing up an ulcerated leg is hard), season 3 stays hot.
  64. The performances are good but constrained by the parameters of scary-story acting.
  65. One of the small miracles of Frasier is the way the show's high-strung, highbrow characters have managed to become mass-appeal favorites.
  66. On paper this sounds somewhat ludicrous, but the series is surprising moving. [13 Jul 2012, p.68]
    • Entertainment Weekly
  67. Sins offers an informative, uncondescending glimpse at single-minded desire.
  68. Benched is more lightweight [than Enlightened], but it's encouragingly funny thanks to Coupe, whose attempts at anger management showcase impeccable comic timing.
  69. The semi-procedural widen its scope, bringing in more civic intrigue without losing any of that Law & Order: Historical Stabbing Unit grime. [21 Jun 2013, p.60]
    • Entertainment Weekly
  70. Leads Justin Kirk and JoAnna Garcia Swisher charm. [10 Aug 2012, p.70]
    • Entertainment Weekly
  71. It vibrates with big-picture vision and has smart fun with its premise.
  72. Three major characters are killed tonight within the first hour of a pretty stellar premiere.
  73. Louis-Dreyfus isn't quite believable as a vice president--even a sitcom VP whose lack of gravitas is the show's central joke. But she's still a joy to watch, especially when she shows off that famous gift for physical comedy.
  74. Fantasy football's most entertainingly unpleasant competitors return to discover there are worse things than coming in at the bottom of the league (well, maybe).
  75. Both extremely funny and intelligent.
  76. The dramedy's first season is alternately nuanced and maudlin, wise and sentimental. You can pick-pick-pick at it--too many metaphors, easy foils, and musical montages--but the whole is greater than the parts, and builds to a reflective, stirring conclusion that is mostly earned.
  77. Forgoing its recent dip into somnambulism, Empire is (literally) all guns blazing again.
  78. This duplication of season 1’s structure includes slow-burning supporting clones Cosima and Alison and makes them relevant to Sarah’s work, but subplot is at a minimum. Cloning the past to supercharge the present? That’s very clever, Orphan Black. For now.
  79. Overall, the reliable dramedy delivers more campy fun.
  80. [A] desperately sad yet compelling doc digs deep into the events that led to and followed the tragedy. [26 Jul 2013, p.62]
    • Entertainment Weekly
  81. A shorter, slicker look at Manchester's LGBT youth [than Cucumber]. [17/24 Apr 2015, p.104]
    • Entertainment Weekly
  82. The Practice has the goods to be a don't-miss show.
  83. Andy Barker isn't as complete a comedy as Andy Richter Controls the Universe — the first three episodes feel like a series of very funny bits that have been welded together. But so did 30 Rock when it first started, and that's now the best comedy on TV.
  84. iZombie injects fresh life into the increasingly staid genre of supernatural TV. [20/27 Mar 2015, p.87]
    • tbd Metascore
    • 83 Critic Score
    Coming off eps with Dolph Lundgren, Lou Ferrigno, and yes, Nicole Richie, Dalton's arc proves that no other show since Alias has made smarter use of its guest stars. [5 Nov 2010, p.64]
    • Entertainment Weekly
    • 65 Metascore
    • 83 Critic Score
    Colbert proves that the line between serious TV journalism and utter nonsense is a very thin one indeed. [4 Nov 2005, p.67]
    • Entertainment Weekly
  85. Tone is everything in a detective show, and this one's is unique: easy-rolling yet prickly. [10 Sep 2010, p.82]
    • Entertainment Weekly
  86. Modest but terrific, uncool but charming, this ain't According to Jim: Give it a try.
  87. There are times when Bloodline feels closer to a soap like How To Get Away With Murder than the sunshine state noir it wants to be. But three episodes in, owing to quick plotting and strong performances, I'm hooked. [20/27 Mar 2015, p.86]
  88. Often as crafty as it is racially charged.
  89. The throbbing red heart of The Vampire Diaries remains the tension between Damon and Paul Wesley's Stefan, and their mutual attraction to whomever Dobrev is embodying at the time.
    • 73 Metascore
    • 83 Critic Score
    The automobile-enthusiast program may lack the British wit of the original series, but it's beautifully shot, just as silly, and nearly as much fun. [26 Nov 2010, p.68]
    • Entertainment Weekly
  90. The show can feel disorienting--a mix of reality competition and infomercial targeted at millionaires--but hosts Jeremy Clarkson, James May, and Richard Hammond have an infectious geek-patrician enthusiasm.
  91. Like last season, the plots are thick and quick-flying. (Also like last season, the abstruseness can sometimes feel showy.)
  92. After artistic duds like the TV version of "Crash," Starz may have found its destination series in Spartacus. This might prove to be the not-at-all-guilty pleasure of the season.

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