Entertainment Weekly's Scores

For 1,802 reviews, this publication has graded:
  • 65% higher than the average critic
  • 15% same as the average critic
  • 20% lower than the average critic
On average, this publication grades 7.6 points higher than other critics. (0-100 point scale)
Average TV Show review score: 72
Highest review score: 100 Gossip Girl: Season 2
Lowest review score: 0 Justice for Natalee Holloway
Score distribution:
  1. Mixed: 0 out of 1371
  2. Negative: 0 out of 1371
1,371 tv reviews
  1. All that commotion sets the season on a compelling path, hitting the road with a purpose. This is when Dead is at its best: journeying through postapocalyptic, fun-house-mirror America.
  2. So far, Martin and Daphne have been good for a few solid laughs per show,but the indispensable costar has proven to be Frasier's brother, Niles, played by David Hyde Pierce.
  3. Stick with it. Free your eyes to take in the spectacle, and your brain will magically start following the intricate storytelling. And there's a magical realism to Game of Thrones.
  4. Here's an interesting, uneven, impudent comedy-drama that may well prove to be summer television's most likably eccentric series.
  5. 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.
  6. In its portrayal of novice docs under pressure, ER may remind you of St. Elsewhere, but with less of the quirkiness that made Elsewhere both brilliant and annoying.
  7. The Underwoods have no worthy opponents.... Kate Mara's Zoe and her more interesting colleague Janine Skorsky (Constance Zimmer) are an okay team, but their muckraking efforts are now led by Washington Herald editor Lucas (Sebastian Arcelus), who unfortunately looks like a boy in need of a nap (or a hug).... My money is on rising politico Jacqueline Sharp, played with throbbing edge by Deadwood alum Molly Parker.
  8. Outrageous lewdness and delightful non sequiturs speed by, which makes each episode rewardingly rewatchable.
  9. It's very funny and occasionally quite moving, with a crackerjack cast and provocative insights into the way that race and power and magical chickens function in the penal system.
  10. Orphan Black has much on its mind, and maybe too much going on. But it knows to play to its amazing strengths--most of which are named Maslany.
  11. Just as adept with suspense as slapstick humor, it's both a piss-take of action dramas and a strong action drama in its own right.
  12. Nip/Tuck has reclaimed its sense of humor.
  13. The weakest aspect of Seinfeld is a wacky next-door neighbor played by Michael Richards. Richards is doing little more than an impersonation of Christopher Lloyd's Jim on Taxi, and he ought to cut it out.
  14. 'Scrubs' is a TV rarity: a new sitcom with an original look and point of view, and the merciful absence of a familiar star attempting a comeback.
  15. True Blood is, if anything, faster, sleeker, more vicious, more fun that it already was. Yum-yum.
  16. Like a James Brown show, the result is both generously proportioned and extremely tight.
    • 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.
  17. This peter Berg-produced show is filmed in a low-key style that makes Roach's life seem all the more dramatic. [27 Jan 2012, p.68]
    • Entertainment Weekly
  18. 24's best seasons have always hinged on a central, tantalizing character... This year could finally be Jack's turn to fascinate.... Otherwise, this round of mayhem has little to differentiate itself. [19 Jan 2007, p.67]
    • Entertainment Weekly
  19. 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.
  20. It's grim but exhilarating: a portrait of an artist chronicling despair.
  21. 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.
  22. Smash is often enjoyable. [3/10 Feb 2012, p.101]
    • Entertainment Weekly
  23. This handsomely produced experimental series ought to please flexible fans. [30 Mar 2007, p.62]
    • Entertainment Weekly
  24. 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.
  25. Turner and Tovey get the best material, while Crichlow mopes a lot. Then again, she's a ghost, so let's cut her some slack.
  26. 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
  27. The result is thirtysomething crossed with The Waltons — and I mean that as a compliment.
  28. 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.
  29. The con-man-works-with-G-man series is already a well-oiled machine, which is both good and bad. Good, because the interplay between Matt Bomer's hipster criminal and Tim DeKay's square fed is crisp; bad because the plots are often wilted.
  30. This isn't much different from Season 1--confusion, frustration, bell-bottoms--but it's still a good, uneasy time. [14 Dec 2007, p.62]
    • Entertainment Weekly
  31. One of The West Wing's executive producers is ER's John Wells, and the new series replicates that show's swooping cameras and frenetic pace. Combine this visual style with a slightly toned-down version of the overlapping dialogue Sorkin uses in his other series, ABC's Sports Night, and you've got one zippy little hour. That's good, because when you stop and examine each plot strand, the show starts to unravel.
  32. Work of Art remains TV's most enjoyable high/low, art/TV example of...cultural hybridity!
  33. [A] mechanically contrived show ... [but] it sure can be cozy, and cozy tends to get better ratings than clever.
  34. It's a slower-paced, smaller-scale show about the sad reality of sticking it out in Hollywood into middle age. It also veers into weirder territory that would feel impossible outside California. But thanks to the chemistry between Peet and Zissis, it's endlessly engrossing.
  35. The Game is next-level entertainment, courtesy of smart scripts and a cast of finely drawn characters.
  36. This wittily raunchy spy spoof from Adam Reed (Sealab 2021, Frisky Dingo) features intentionally stiff cartoon characters led by the title hero.
  37. Sometimes Dr. Katz is a little too early-period Woody Allen — more whines than jokes. But so far, Dr. Katz has proved capable of a brisk originality.
  38. While the show's attempt to please different generations is sometimes more jarring than jocular, this episode does feature the best non sequitur gag you're ever likely to hear about the Parliament song "Aqua Boogie."
  39. By making Ben Gideon the head of a teaching hospital, [Paul] Attanasio created the opportunity for Braugher to use his grave, grandly expressive voice to deliver long speeches to a classroom of awestruck medical students. Unfortunately, what Attanasio intends as a showcase — a gift to both his star and his audience — ends up making Gideon seem like a boring gasbag.
  40. With an elaborate action sequence nearly every 10 minutes, Strike Back is easy, Vacuous, fun. [16/23 Aug 2013, p.104]
    • Entertainment Weekly
    • 78 Metascore
    • 91 Critic Score
    The show immediately bursts at the seems with personality. [16 Nov 2007, p.68]
    • Entertainment Weekly
  41. 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.
  42. Fringe seems to be going out as alt-world fantasy/sci-fi at its most tough-minded yet humanistic. [5 Oct 2012, p.73]
    • Entertainment Weekly
  43. [It] sometimes tries a bit too hard. Mellow out, dudes--we're addicted already. [18 Aug 2006, p.128]
    • Entertainment Weekly
  44. 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
  45. It would be nice if TV Nation were what Moore claimed it would be: a funny show with a political sting. So far, it's just self-righteous.
  46. A megawatt start to a show crackling with megaton ambition.
  47. There's not a nature-show junkie out there who won't be wowed by the stunning footage in this seven-hour miniseries about migratory animals. [5 Nov 2010, p.66]
    • Entertainment Weekly
  48. Like Saul himself, its identity is a work in progress. The energetic visual storytelling engages, but the deliberate pacing left me restless.
  49. The fact that Push Girls borrows heavily from the Real Housewives format is initially worrying, given the sensitive subject matter, but ultimately seems like a savvy, on-the-side-of-the-angels move.
  50. It's incredibly moving to watch him finally become comfortable in his own skin.
  51. It's not top-notch Closer; everyone and everything feels a smidge tired. Yet however grating the premiere may be, the series remains undeniably winning--just like Brenda herself.
  52. The results are exhilarating.
  53. 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]
  54. All the beloved Archer hallmarks are still there too; quick cuts, witty repartee, and recurring gags abound. But the premiere lacks that spark of kinetic insanity that made us fall in love with the slick spook in the first place. [9 Jan 2015, p.74]
  55. Who says TV doesn't make history thought-provokingly exciting?
  56. Devious Patty is still drinking like a fish, while wan Ellen is still seeking her advice (still, Ellen? Really?), and I still will not be able to resist watching every episode I possibly can.
  57. It's a midlife triumph, a series that takes a well-worn theme and makes it unpredictable, freshly funny, and sometimes moving.
  58. Director John Gulager ... is easily the most intriguing personality in PG history.
  59. Fishburne's gravitas helps do the Supreme Court justice...justice.
  60. What's great about the series this season is that you can dive deep into its familiar-yet-fresh bubbling stew of physics, ? numerology, and smoke monsters...or you can just skim across its blinding-sun surface, grooving on the thwarted romances, ?the time-shifting nosebleeds, and how great Kate looks in a business power suit and heels.
  61. Between its cinematography, setting, and subject matter, Lights doesn't look a whole lot like anything else on television right now.
  62. The result is stupid, deranged, and fairly disgusting, none of which should be taken as criticism.
  63. [An] absorbing spy thriller. [25 Jan/1 Feb 2013, p.113]
    • Entertainment Weekly
  64. If it weren't for the commercials and basic-cable cutaways from some violence, you'd swear you were watching a classic Western. [23 Jun 2006, p.66]
    • Entertainment Weekly
  65. Uneven but irreverent, Rescue Me manages to rescue itself, immersing us in the tumultuous firefighting life that is the reason we watch the show.
  66. 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.
  67. The pilot is surprisingly funny, fresh, and affecting. Much of the credit goes to Union.
  68. The sly second season of Penny Dreadful finds its drama in characters trying to shake shameful pasts that won’t stop haunting them, and finds rich menace in cunning folk and shape-shifting spirits who make thralls and puppets out of our heroes, robbing them of authenticity and self-determination.
  69. Lee may be a tad too smart to embody this reformed dimwit, but his smooth charm makes Earl go down as easy as a tallboy. [23 Sep 2005, p.82]
    • Entertainment Weekly
  70. The movie goes on a bit too long, but it makes up for it with finely tuned performances.
    • 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.
  71. It's funny, but it's not revolutionary.
  72. The best of what Vikings has to offer, besides artfully, horrifically staged sequences of warfare, is fierce Lagertha.
  73. Roswell isn't yet anywhere near [The X-]Files in emotional depth, and its sympathetic but blank-staring actors only make you appreciate the nuances that Duchovny and Anderson bring to poker-faced emoting. But if this season proves The X-Files' last, there's a chance that Roswell can step into the void and supply TV's highest-quality heebie-jeebies.
    • 77 Metascore
    • 75 Critic Score
    Though his cliche hard-boiled voice-over doesn't work, much of this series... does. [29 Sep 2006, p.73]
    • Entertainment Weekly
  74. 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.
  75. 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.
  76. [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
  77. The business of powerful men demonizing a strong, if suffering, heroic woman makes for layered drama. As usual, Danes throws mind, heart, and jittery chin into making Carrie feel real.... For now, Homeland sans Brody feels too safe, too conventional.
    • 77 Metascore
    • 75 Critic Score
    This season, the Housewives aren't desperate: They're avidly ambitious, like the series itself.
  78. Everyone's looking for love in a way that's so vulnerable, it feels authentic even if you've never been anywhere near the Castro.
    • 77 Metascore
    • 75 Critic Score
    The series is skillfully directed and packed with decades-spanning trivia, but it isn't the immersive expose it could be. [17 Oct 2014, p.62]
    • Entertainment Weekly
  79. In its pilot episode, Chicago Hope looked smart but trite — Trapper John, M.D. with book-learnin'. ... [But David E.] Kelley's writing in [the second] episode is worth any number of Picket Fences.
  80. The tremendously exciting second-season premiere — the first of six new episodes — plunges us into numerous L.A.-cop story lines, the best of which finds Regina King's Lydia dealing with a cocky new partner
  81. Four words: Best. Eviction. Episode. Ever. The only thing that could have made it even more delicious? Zombie Chenbot.
  82. There's a lot of slow exposition here, requiring patience for new characters (like Ron Livingston as wealthy playboy Roy Phillips). But the body count builds by the time the credits roll, so those quiet rooms won't stay quiet for long. [6 Sep 2013, p.71]
  83. 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.
  84. Sure, the new Real World is beating the dead horse of the old one, but its derivativeness carries a fresh sting.
  85. Kalyan and Byrd are two likable, unaffected actors (or at least as unaffected as Aliens' heightened reality allows them to be; this show would be a mess in lesser hands).
  86. 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.
  87. You will giggle repeatedly.
  88. Night One felt almost fully-formed, as if Oliver has spent his Daily Show tutelage making a list of everything that works-- and everything he wanted to do just a little bit differently.
  89. Prepare for gullet slicing, blood spurting, cop-versus-cop conflict, and more blood spurting. We can't get enough.
  90. [A] terrific second season of this industry-set sitcom. [17/24 Aug 2012, p.109]
    • Entertainment Weekly
  91. The high-energy group's smart, counterintuitive brand of absurdism is especially reminiscent of The State. [18 Oct 2013, p.61]
  92. The Jinx might make amateur sleuths of us all. But judging by this gripping, stranger-than-fiction detective story, Jarecki’s the real thing.
  93. A lighter season that engages the chief criticisms of Girls--Hannah and her maturity-challenged pals are self-absorbed; they're actually hideous friends to one another--if only to say: That's part of the point.

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