Entertainment Weekly's Scores

For 2,299 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 7.7 points higher than other critics. (0-100 point scale)
Average TV Show review score: 73
Highest review score: 100 Lost: Season 1
Lowest review score: 0 Drawn Together: Season 1
Score distribution:
  1. Mixed: 0 out of 1766
  2. Negative: 0 out of 1766
1766 tv reviews
  1. 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.
  2. 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.
  3. 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.
  4. Outrageous lewdness and delightful non sequiturs speed by, which makes each episode rewardingly rewatchable.
  5. 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.
  6. 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.
  7. The briskly paced humor is delightfully irreverent, taking aim at PC posturing and entitlements of all kinds.
  8. 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.
  9. Nip/Tuck has reclaimed its sense of humor.
  10. 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.
  11. '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.
  12. True Blood is, if anything, faster, sleeker, more vicious, more fun that it already was. Yum-yum.
  13. 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.
  14. 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
  15. 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
  16. 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.
  17. It's grim but exhilarating: a portrait of an artist chronicling despair.
  18. 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.
  19. Smash is often enjoyable. [3/10 Feb 2012, p.101]
    • Entertainment Weekly
  20. This handsomely produced experimental series ought to please flexible fans. [30 Mar 2007, p.62]
    • Entertainment Weekly
  21. 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.
  22. 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.
  23. Spotless is messy, and Grondin is a bit of a blank, but the pilot promises gruesome-funny delights. [13 Nov 2015, p.57]
    • Entertainment Weekly
  24. 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
  25. The result is thirtysomething crossed with The Waltons — and I mean that as a compliment.
  26. 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.
  27. 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.
  28. The abundance of flaws--a sluggish pace, thinly stretched plots--can't smother everything interesting. ... Luke Cage is a meaningful attempt at developing a new-model black hero. [30 Sep 2016, p.48]
  29. 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
  30. 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
  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. The show may not click with everyone, but it left me electrified.
  33. Work of Art remains TV's most enjoyable high/low, art/TV example of...cultural hybridity!
  34. The series is imbued with retro cool and, similar to the winking hindsight of Mad Men, takes pleasure in mixing a complicated past with a keen sense of pop. [19 Jun 2015, p.57]
    • Entertainment Weekly
    • 79 Metascore
    • 75 Critic Score
    The latest entry finds a way to make the tale new again by leaning into its previously untapped darkness. [12 May 2017, p.51]
  35. [A] mechanically contrived show ... [but] it sure can be cozy, and cozy tends to get better ratings than clever.
  36. 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.
  37. Riley Keough makes an intriguing figure, at once more empowered and more desperate than her cinema alter ego. I have no clue if this is a profound mediation on intimacy or a daylight-noir origin story for Basic Instinct, but I'm hooked. [1/8 Apr 2016, p.101]
  38. The Game is next-level entertainment, courtesy of smart scripts and a cast of finely drawn characters.
    • 78 Metascore
    • 91 Critic Score
    One of many delights about the pilot for Crazy Ex Girlfriend is that it resonates with her [Rachel Bloom's] distinctive voice.
  39. This wittily raunchy spy spoof from Adam Reed (Sealab 2021, Frisky Dingo) features intentionally stiff cartoon characters led by the title hero.
  40. The Keepers is addictive serial made for the post-Serial market. ... White’s narrative is a nesting doll of colorful characters giving way to more colorful characters--stories inside stories, mysteries within mysteries.
  41. 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.
  42. 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."
  43. The story of Kimmy Schmidt’s continuing education was bound to get bumpy, but it remains entertaining, and season 3 has every chance to graduate with honors.
  44. 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.
  45. 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
  46. 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.
  47. 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
  48. [It] sometimes tries a bit too hard. Mellow out, dudes--we're addicted already. [18 Aug 2006, p.128]
    • Entertainment Weekly
  49. 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
  50. 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.
  51. A megawatt start to a show crackling with megaton ambition.
  52. 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
  53. Like Saul himself, its identity is a work in progress. The energetic visual storytelling engages, but the deliberate pacing left me restless.
  54. 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.
  55. It's incredibly moving to watch him finally become comfortable in his own skin.
  56. 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.
  57. The results are exhilarating.
  58. Tribeca is the kind of easy, lightweight fun that never gets old. [8/15 Jan 2016, p.96]
    • Entertainment Weekly
  59. 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]
  60. 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]
  61. He’s notably more frisky in Age of Spin, turning hot-button current events into philosophical quandaries.
  62. Who says TV doesn't make history thought-provokingly exciting?
  63. 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.
  64. It's a midlife triumph, a series that takes a well-worn theme and makes it unpredictable, freshly funny, and sometimes moving.
  65. Compelling documentary.... Director Irene Taylor Brodsky utilizes police interrogation footage and interviews with the pair's families to craft not a tale about imaginary monsters, but about the far more terrifying subject of real-life mental-health issues. [27 Jan 2017, p.54]
  66. Director John Gulager ... is easily the most intriguing personality in PG history.
  67. Shifting allegiances and unpredictable motives are what keeps this sometimes hoary show compelling. [9 Oct 2015]
    • Entertainment Weekly
  68. Fishburne's gravitas helps do the Supreme Court justice...justice.
  69. The moment we glimpse Helen’s inner life, she becomes the most fascinating character on a show that’s full of them.... When a friend asks if she knew that Noah was cheating, there are unspoken questions there: How would I know if it happened to me? And if I didn’t know, how could I move on? The fact that viewers are asking the same questions only makes this season more compelling to watch.
  70. 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.
  71. Nothing is perfect, but the wise whimsy of The Good Place comes close.
  72. Between its cinematography, setting, and subject matter, Lights doesn't look a whole lot like anything else on television right now.
  73. The result is stupid, deranged, and fairly disgusting, none of which should be taken as criticism.
  74. The storytelling juggles too many elements--the civil war movement, escalation in Vietnam, LBJ's relationship with his wife (Melissa Leo). Still, in Cranston you should trust. He mesmerizes even with a shaggy narrative. [20 May 2016, p.52]
  75. [An] absorbing spy thriller. [25 Jan/1 Feb 2013, p.113]
    • Entertainment Weekly
  76. 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.
  77. 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
  78. Uneven but irreverent, Rescue Me manages to rescue itself, immersing us in the tumultuous firefighting life that is the reason we watch the show.
  79. 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.
  80. The pilot is surprisingly funny, fresh, and affecting. Much of the credit goes to Union.
  81. Some might want a quicker pace from American Gods. Yo, po-mo Clash of the Titans, gets to the clashing! But I was consistently engrossed. The characters, the concept, the deeply considered filmmaking captured my imagination.
  82. 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.
  83. 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
  84. 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.
  85. It is fun--a pleasing balance of slick, Ocean's Eleven-style con jobs and tense, close-call escapes. [13 Jan 2017, p.58]
    • Entertainment Weekly
  86. It's funny, but it's not revolutionary.
  87. The pilot's take on these lovable downers is a bit of a downer itself, but the second half hour sharpens its wit. [9 Oct 2015]
    • 77 Metascore
    • 83 Critic Score
    The show could do better with its shallow portrayal of its female characters, but fans of mob dramas should otherwise find everything they want. The narrative picks up its pace as the season progresses into a final run of episodes that feature the most suspenseful sequences Narcos has ever had.
  88. The best of what Vikings has to offer, besides artfully, horrifically staged sequences of warfare, is fierce Lagertha.
  89. 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
    • 77 Metascore
    • 100 Critic Score
    HBO debut both gaffaw-worthy and eye-opening. [16 Oct 2015]
    • Entertainment Weekly
  90. 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.
  91. 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.
  92. With so many broken relationships and so much change, the story feels alienated from what came before. [1/8 Apr 2016, p.99]
    • Entertainment Weekly

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