Entertainment Weekly's Scores

For 2,357 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 7.4 points higher than other critics. (0-100 point scale)
Average TV Show review score: 73
Highest review score: 100 The Ben Stiller Show: Season 1
Lowest review score: 0 Drawn Together: Season 1
Score distribution:
  1. Mixed: 0 out of 1811
  2. Negative: 0 out of 1811
1811 tv reviews
  1. A lot of these scenes hit the mark, others hit the floor with a thud. But, much like last summer’s The Carmichael Show, it’s an admirable exercise either way.
  2. Liar piles telenovela traits across six, pulpy logic-defying hours. What's left feel like less than the premise deserves: loopy melodrama classed up with British accents and high production values. [29 Sep, 2017, p.54]
    • Entertainment Weekly
  3. The comic timing isn't as tightly paced as it once was, but there's a certain WTF thrill in watching story lines meander where ever they please. [20/27 Mar 2015, p.92]
  4. The overall effect is a worthwhile appreciation of one of Hollywood's all-time greats. [6 Oct 2017, p.55]
  5. It's two moody-cop procedurals for the price of one, with deeply felt emotion in the performances. [7 Oct 2016, p.51]
  6. A simmering bit of silly suspense fun created by X-Files writer-producer Frank Spotnitz.
  7. The oddball overload bugs at first, but the incredibly likable cast makes The Unusuals unusually promising.
  8. What starts out lean and mean can grow flabby and sentimental, and flaws can turn into handsome plot twists. Which is one reason to just bite down hard and go with the show.
  9. A juicy, jauntily anarchic production.
  10. Fortunately, you don't have to take the former SNL star too seriously to roll with Brooklyn Nine-Nine, a sitcom from the producers of Parks and Recreation that smartly pokes at police-show tropes and creates a promising comedy playground where the Motherlovin' jester can cut loose.
  11. Fresh blood and sharp ideas make for delicious, smart-pulp fangoria. [22/29 Apr 2016, p.105]
    • Entertainment Weekly
  12. With hearty doses of British self-flagellation, Loaded wrings brilliant cringe comedy out of its unqualified characters and the wealth they’ve stupidly acquired.
  13. The premise is a neat riff on immigration and fitting in, but the jokes are a bit conventional for a show that looks so pleasantly odd.
  14. This show, which reunites the undeniably charming Bilson with The O.C. creator Josh Schwartz, is a goodie that mixes heartstring-tugging moments with lines like this: "There it is. Rock bottom. I just played 'Dixie' with my butt."
  15. I'll miss Grissom, but welcome Langston's brusque authority: lotsa possibilities for friction with the prickly CSI crew.
  16. Sound gaggy? It's not. Twain is incapable of treacle: She travels, talks, and even sings!
  17. Filmed with a muddy palette, the premiere hums with menace. There's lots of low-down action, with brass knuckles applied.
  18. 'Deadwood' creates from the git-go a villain for the ages in Al Swearengen. McShane's slicingly deep voice is like a bowie knife stuck in the series' heart, but instead of stopping its action, he brings the show to pumping, bloody life.
  19. Thanks to clever writing and smart pacing, everyone from Work gets a chance to shine. [14 Aug 2015, p.56]
    • Entertainment Weekly
  20. They reunite to help Bletchley alum Alice in a personal matter that grippingly involves an illegitimate child, a chemical spill and top secret military documents. [11 Apr 2014, p.60]
    • Entertainment Weekly
  21. A stunningly shot wildlife series. [1 Jul 2016]
    • Entertainment Weekly
  22. This reliably hilarious and routinely scabrous spoof medical show starts off the new season with a crackerjack episode. [3/10 Jun 2011, p.106]
    • Entertainment Weekly
  23. The good news for fans — and neophytes — is that the new sitcom is clever and insular, capturing all the drudgery, awkwardness, and rivalry of cubicle living. ... Ultimately, though, The Office lacks the aching subtlety of the BBC version.
  24. For a thoughtful drama that's so rooted in national identity, there's only one real misstep: No one will mistake Kruger for a Texan.
  25. Annie Walker tackles a new case--but it feels like a distraction as the Ben mystery continues. [3/10 Jun 2011, p.109]
    • Entertainment Weekly
  26. A cheery, hot pink daisy of a show -- inherently cute and incredibly simple.
  27. Director John Gulager ... is easily the most intriguing personality in PG history.
  28. Political Animals' rich characters and complicated relationships seem like they'd need six seasons to develop.
  29. There’s a deep vein of dark comedy here, a satire of point-one-percenters that deepens the more recognizable superpowered-teen melodrama.
  30. Maura Tierney's Helen continues to hold the emotional center, while Ruth Wilson's Alison is as haunting as ever. [18 Nov 2016, p.52]
    • Entertainment Weekly
  31. The storytelling immediately recharges the Raylan vs. Boyd conflict.
  32. Whether it’s turning its squinty eye on soccer practice or sexting or how to handle your best friend’s useless stoner husband, that real-lifeness, in all its weird, mundane, un-laugh-tracked glory, is the best thing about Better Things.
  33. You respect the ambition of unspooling this story gradually, but the third episode also retroactively makes the two-part prologue feel even more overextended. This feels like a show struggling to find its heart. But at least Martin-Green gives it a pulse.
  34. The extended action sequences leave less time for the franchise's signature adult-friendly heart and wit, but there's are still some great sight gags and winking references. [5 Dec 2014, p.76]
    • Entertainment Weekly
    • tbd Metascore
    • 83 Critic Score
    Sure, this show, as dark as the bottom of Oscar the Grouch's trash can, will give your inner child nightmares, but it's the only way he'll learn.
  35. Braugher [has] never been better... rarely has a character hopped onto the screen feeling so completely real. [31 Mar 2006, p.51]
    • Entertainment Weekly
  36. It's pretty much 85 percent sex jokes. The good news is that all the sex jokes are very funny! And even when Schumer turns her attention elsewhere, she still kills it. [10 Mar 2017, p.62]
    • Entertainment Weekly
  37. For a show with such superb acting -- all honor to Boreanaz, who's got macho vulnerability down to a smooth essence not achieved since James Garner in his 'Rockford Files' days, and to Amy Acker, who has gone from victim to sexpot to villain without ever hitting a false note – 'Angel' is surprisingly rife with leaden lines like 'Rules can be broken; all you have to do is push hard enough.'
  38. AHS is pretty much all scare, all the time: a whole lotta screams, sex, jolts, mashed faces, psychotic behavior, and dead babies.
  39. Life is intelligent fun.
    • 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
  40. If you find the premiere poky, stick with it: Episodes gets funnier with each succeeding episode, and the acting is superb. Yes: Matt LeBlanc = superb.
  41. Hemlock Grove takes its time with story lines, ensuring that each one has plenty of room to ripen. It carries out every dastardly deed with gusto, but still offers enough moments of levity.
  42. After dialing it down to an 11, [Vincent] D'Onofrio — along with some creepy stories — is turning CI into the best of the L&O franchise.
  43. A pretty spry police procedural. A lot of the credit goes to the chemistry between stars Chyler Leigh (the Brooklyn-raised detective) and Jacky Ido (the French-born cabbie). [27 Jun 2014, p.57]
  44. Wars is funnier than a movie about wedge politics has a right to be. [15 Dec 2006, p.80]
    • Entertainment Weekly
  45. The premiere episode of Dharma & Greg delivers rather more than you might expect; it has the zing of a '30s screwball comedy.
  46. Sometimes it takes a little while for a show to hit its stride, and watching Las Vegas for the first half of its first season was a crapshoot. ... So the series pumped up the guest-star quotient. That's when the fun began, around the turn of this year, when people as diverse as Paris Hilton, Sean Astin, Dennis Hopper, and Sugar Ray's Mark McGrath began showing up.
  47. I Am Cait is a surprisingly thoughtful series, especially for a Keeping Up With the Kardashians by-product.
  48. The humor is wilder, the penury sadder, and Sophie Okonedo a winsome Nancy. The only bad twist is the overwrought score.
  49. The debut episode isn't quite the laugh machine you'd expect from a guaranteed winner wedged between Seinfeld and ER. Clearly, what Veronica's Closet has going for it above all else is Alley's bleep-'em-all blitheness, her gift for turning a tantrum into operatic hilarity.
  50. Sutherland is incredibly appealing and credible in a change-of-pace role. The supporting players are well cast.
  51. It's Kudrow who carries the episode, her discomfort increasing with every one of Maya's wackadoo mantras.
  52. Where season 1 spanned 10 years, season 2 captures Escobar's last days on the loose. Each tightly packed episode moves quickly without sacrificing richness, chronicling the uneasy alliances and gross tactics employed to Snare Escobar. [2 Sept 2016, p.48]
    • Entertainment Weekly
  53. As much as it can be hobbled by archetypes and cliché, the series also smartly self-corrects, offering something rare in Millennial mass entertainment: A frank, authentically affecting portrait of what it feels like to be young, lost, and too fragile for the world.
  54. There's all the slamming violence you might want in your gas-fumed escapism, mingled with real-world difficulties.
  55. Oyelowo now gives us an inverse performance [from his performance as Martin Luther King Jr. in Selma], mesmerizing in its small, sad details and sense of anti-charisma. [29 May/5 Jun 2015, p.98]
    • Entertainment Weekly
  56. Designing Women's quandary is that its new characters are just variations on old ones. ... To date, the results have been extremely uneven — some weeks Allison is a whining drag; others, she's a sharp-tongued asset on a show that's gotten a little softheaded.
  57. Mary Poppins it ain't--which is fine because the snooty broad couldn't begin to handle this. [21 Sep 2007, p.74]
    • Entertainment Weekly
    • 82 Metascore
    • 83 Critic Score
    Like any good country song, the episode is more about developing the narrative and less about the cheap thrills. It’s refreshing to see the show settle into a new rhythm where necessary attention is given to each (potentially smaller) storyline.
  58. At its strongest, it freshens those themes without melodrama, opting instead for slow-boil tension. The challenge for this artful series is whether that boiling point is too slow for viewers raised on WWE Raw and mixed martial arts.
  59. That's the joy of the show. 30 Days is not about black and white, but about gray matter at work.
  60. The high-energy group's smart, counterintuitive brand of absurdism is especially reminiscent of The State. [18 Oct 2013, p.61]
  61. It’s a mind-bendingly expansive show, packed into a tiny, 60-minute slot.
  62. Naturally funny interviews are easy TV; it's with drier material that the animators shine. [8 Jun 2007, p.74]
    • Entertainment Weekly
  63. [Hotel Hell] shows the Brit on his best behavior. By which we mean his worst.
  64. Boss may be florid, but its peeks into backroom in-fighting, at favors promised and betrayed, remain strong elements in its favor.
    • 61 Metascore
    • 83 Critic Score
    Fans looking for wit and whimsy can expect a happy ending. [26 Dec 2014/2 Jan 2015, p.115]
    • Entertainment Weekly
  65. If it seems slow and staged at first, be patient.... [it has] oh-so-much potential for a delightful guilty pleasure. [26 Jul 2013, p.62]
    • Entertainment Weekly
  66. The sophomore-season premiere shows no signs of slumping.
  67. Dead's latest new showrunner, Scott Gimple, carefully attends to the vast supporting cast, but the premiere doesn't skimp on the splatter or tragedy.
  68. Season 3 opener backslides a bit into tired first-season silliness when Andrea (Gabourey Sidibe) returns from Ghana with a new African name, Ababuo. But things improve when Cathy's slacker brother, Sean (John Benjamin Hickey), steps up as "guardian buddy" to Adam (Gabriel Basso) in the event that he ends up parentless.
  69. The scattered storylines initially baffles, but mounting revelations and charming crazy will turn your bewildered "What the heck is going on?" into curious and invested "Where the hell is this going?" [29 Jan/5 Feb 2016, p.103]
  70. The opening of Weeds makes me want to scream. ... That said, Weeds is a dozen times more creative than its opening credits.
  71. By this third episode, the tone has become open, generous, and alert to every sort of character.
  72. As usual with TWD, it's hard to say where the season will go next. But judging by the premiere, it'll be worth the walk. [9 Oct 2015]
    • Entertainment Weekly
  73. As an adventure series bristling with ideas, it's V+. Or as we grade 'em on Earth: B+
  74. The sharp, witty season 2 premiere has crime solving revenant Liv Moore learning to live free of self-pitying cynicism. [9 Oct 2015]
  75. There are some decent rat jokes, but the best part is the way it makes the loneliness and exhausting competitiveness of the city feel all too human. [29 Jan/5 Feb 2016, p.105]
  76. The show is too thoughtful to be dismissed as kitschy fun.
  77. Carter's aiming for something between His Girl Friday, Dick Tracy, and Alias--a tough tonal mixture, especially on a weekly broadcast budget. But Atwell's firing on all cylinders. [9 Jan 2015, p.74]
  78. Family Matters offers a picture of black family life that takes its middle-class ordinariness for granted, which is unusual for TV. Even more unusual, it's a show you can watch with your whole family, and chances are, everyone will get a few good laughs out of it.
  79. A fresh set of relationships and complications is just the transfusion the show needed. [9 Oct 2015]
    • Entertainment Weekly
  80. Dead is beautifully shot, but what it's shooting are former humans with rotting skin and bleating agonized groans. And like the comics, there's great, grim humor.
  81. At its worst, it's hard to tell if Red Oaks is a clever satire of dumb, fun sex comedies or just a dumb, fun sex comedy itself. But Alexandra Socha ... gives me hope that the show is something smarter. [9 Oct 2015]
    • Entertainment Weekly
  82. The results are exhilarating.
  83. It's a testament to Curb's cleverness that what's now rote--Larry offends, we cringe--can still be so surprising.
    • 77 Metascore
    • 83 Critic Score
    Jessica Lange brings typically impressive textures to Big Edie. And just wait till you see Drew Barrymore, as Little Edie, deliver the doc's most famous line, ''This is the best costume for today.'' She's a dead ringer for the real thing.
  84. Outrageous lewdness and delightful non sequiturs speed by, which makes each episode rewardingly rewatchable.
  85. Crudup makes the most of his unconventional cuckold, letting you see how the unexamined privilege of this easy, breezy good guy enables Jean. The surrounding characters lack similar depth, and I wish there were more invention in the filmmaking. Still, Watts has enough shine to make Gypsy a wandering, adventurous character-study worth following.
    • 69 Metascore
    • 83 Critic Score
    McHale gets to flirt and insult to his heart's content, and he's impishly believable in both modes. The supporting cast members manage to make each of their sad little lives amusing, so what could have been a downer of a show is often absurdly funny.
    • tbd Metascore
    • 83 Critic Score
    Throw in some demons, Abbie's sister Jenny, and a classically Hollow-esque historical twist, and the apocalypse looks like fun again. [2 Oct 2015, p.68]
    • Entertainment Weekly
  86. As typical of Review, his [Forrest's] latest journey is touching and idiotic all at once. [17/24 Mar 2017, p.89]
    • Entertainment Weekly
  87. He's always making his audience come up to his level, instead of lowering himself to theirs. He's gonna do just fine. But more Andy, please.
  88. The show can simultaneously unsettle, comfort, excite, and amuse its viewers--something for everyone, if you, like Mr. Finch, like to watch.
    • tbd Metascore
    • 83 Critic Score
    A clever podcast parody and a great Rachel Bloom guest spot prove that the show's bite remains sharp. [19 Jan 2018, p.52]
    • Entertainment Weekly
  89. The whole production is a model of subtle adaptation.
  90. Episodes is still the same great, low-key delight. [9 Jan 2015, p.75]
    • Entertainment Weekly
    • tbd Metascore
    • 83 Critic Score
    Kroll Show runs on the idea that imitation is the highest form of parody, skewering, through pitch-perfect re-creation.
  91. The images are sharper and more inspired, the dialogue is wittier, and the pace is breezier than the usual Marvel-Netflix escapade. Kudos to showrunners Douglas Petrie and Marco Ramirez--the team behind the disappointing second season of Daredevil--for upping their own game, honoring the best parts of every series, and elevating the franchise.

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