Entertainment Weekly's Scores

For 2,298 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. Exceptionally clever, cunning satire. [21/28 Aug 2015, p.95]
  2. [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
  3. Flowers is an extremely weird, if often very funny, comedy bouquet. [6 May 2016, p.51]
    • Entertainment Weekly
  4. 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.
  5. The second season of the sensation that conquered television--and proved the commercial power of diversity—opens with a premiere popping with knowing provocation and outrageousness.... The next two episodes are less raucous--and less inspired.
  6. 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
  7. 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.
  8. 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
  9. Four words: Best. Eviction. Episode. Ever. The only thing that could have made it even more delicious? Zombie Chenbot.
  10. 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]
  11. 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.
  12. Remains as charming as ever. [24 Feb/3 Mar 2017, p.90]
    • Entertainment Weekly
  13. It’s serious-minded sci-fi that’s stylish and strange and soulful, and only grows more rewarding over time.
  14. Sure, the new Real World is beating the dead horse of the old one, but its derivativeness carries a fresh sting.
  15. 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).
  16. The heady sci-fi drama returns with a bit more muscle thanks to the debut of Martian Marine Bobbie Draper (Frankie Adams), a favorite from the books...Get on board now. [Feb 3/10 2017, p.101]
    • Entertainment Weekly
  17. The Edward Snowden-inspired plot is the most compelling story line this season, which is packed with conspiratorial intrigue and complicated questions about political and journalistic ethics.... But the second that Carrie yields to her first fit of mania in years, pasting newspaper clippings all over her house and searching for connections between them--surely, there are computer programs now that allow people to do this without ruining their wallpaper!--it’s d.j. vu all over again.
  18. [An] edgy gem. [13 Nov 2015, p.55]
    • Entertainment Weekly
  19. A 21st century thirtysomething for a TV generation that likes a splash of high concept in their shows and isn’t afraid of melodrama.
  20. 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.
  21. 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.
  22. You will giggle repeatedly.
  23. There's no romance of evil here, only soul-killing despair, yet you find yourself deeply invested in Ciro's survival and wishing for a glimmer of hope in a world devoid of it. [19/26 Aug 2016 p.100]
  24. 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.
    • 76 Metascore
    • 67 Critic Score
    It's an instructive deep dive, sure, but one that too often veers into hagiography. [7 Jul 2017, p.53]
    • Entertainment Weekly
  25. Prepare for gullet slicing, blood spurting, cop-versus-cop conflict, and more blood spurting. We can't get enough.
  26. An overload of family angst--including a meddlesome grandfather and a more scarlet "A word," adultery--dilutes the impact of a well-meaning, well-acted melodrama that works best when narrowly and smartly focused on its title subject. [15 Jul 2016, p.64]
    • Entertainment Weekly
  27. [A] terrific second season of this industry-set sitcom. [17/24 Aug 2012, p.109]
    • Entertainment Weekly
  28. As is always the case in this dense and sprawling enterprise, the results vary from scene to scene, by turns wise and sentimental, condescending and hilarious.
  29. The high-energy group's smart, counterintuitive brand of absurdism is especially reminiscent of The State. [18 Oct 2013, p.61]
  30. At a time when the world is overrun with Twitter-infatuated part-time comedians, this portrait of fame-thirsty New Yorkers is spot-on, and often very funny. They could be this generation’s Will and Grace.
  31. The Jinx might make amateur sleuths of us all. But judging by this gripping, stranger-than-fiction detective story, Jarecki’s the real thing.
  32. 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.
  33. Clumsy writing and poor pacing get in the way of an inherently compelling origin story that involves everything from bad managers to backstage gunplay. On the plus side, the two sets of actors playing New Edition as kids and adults--including Empire‘s Bryshere Y. Gray as Michael Bivins--are charming and fully capable of fancy footwork and smooth vocals.
  34. With Falco front and center, you don't really care if Nurse Jackie gets silly, as with the patient whose cat attacked his scrotum.
  35. If you have an endless appetite for bleak suspense set in Northern Europe (and a lot of people do!), welcome home. [Feb 3/10 2017, p.103]
    • Entertainment Weekly
  36. If only Glee had as much heart as this Project.
  37. The whole show is complicated in a fun, brain-teasing way, and having seen the second episode, I can say it only gets funner. I know that's not a word, but I'm saying it anyway.
  38. Kevin Spacey, that wicked walking wink, remains a spellbinding hoot as Frank. But more than ever, it’s the First Lady--and Robin Wright--who rules this term. Her story resonates with issues of gender, race, and power, bringing in a trio of actresses who provide a sparky jolt.
  39. The sooner our Dex puts away the Kleenex, the better the season will be. Because who wants to watch a remorseless avenger who's inert with remorse?
  40. It's the best show on MTV--and one of the best on any network this summer. [6 Jul 2012, p.71]
    • Entertainment Weekly
  41. 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
  42. In its fourth season, Eureka seems in no danger of losing its gossamer charm.
  43. The movie belongs to Queen Latifah, who brings so much heart to M'Lynn, she will make yours break all the more.
  44. Even as ’80s pastiche, there’s little unique about Stranger Things--the plot and novelty are stretched thin at eight hours. But it gathers momentum in episode 4 and generates pleasure in the convergence of various story lines.
  45. Wolf has put snappin' Jack at the center of some of the best episodes of the immortal series' 19th season.
  46. The quick wit isn't quite there anymore. [21 Jun 2013, p.58]
    • Entertainment Weekly
  47. Thanks to frequent backstabbing, heavy-handed symbolism, and Spacey’s deliciously hammy performance, House of Cards works best as a mordantly funny melodrama.
  48. It’s a mind-bendingly expansive show, packed into a tiny, 60-minute slot.
  49. In its present, second season, McBeal has turned into the sort of squirmy embarrassment its detractors said it was all along and those of us who found it an amusing divertissement always hoped it would never become.
  50. What we have here is a kinda-family-sitcom-semi-midlife-dramedy-medical show. The actors almost make the mishmash work. ... But for each understated scene comes a preening please-discuss-by-the-water-cooler moment.
  51. The result is a compelling portrait of a man who was, in every sense, incendiary.
  52. The mystery isn't as gripping as it could be, but the acting is stellar and the show is worth watching for the ice-cool atmospherics alone. [30 Jan/6 Feb 2015, p.121]
    • Entertainment Weekly
  53. While the relational drama is intrinsic to the show’s investigation of revolutionary character, there are some twists and turns that got my eyes rolling. Still, the various storylines coalesce to produce a suspenseful, surprising finale, and the arcs of Marcus and Jas are compelling.
  54. Girls is already one of the most "New York" shows on television, with its brilliant skewering of aspiring, overentitled creative-class types like Lena Dunham's Hannah.... This season also has astute things to say about the heartbreak, and the relief, of getting older and reexamining your dreams.
  55. Over the years, DC Comics has told and retold the Superboy tale in a number of different 'origin stories,' and comic-book aficionados will have their quibbles about this new version. For the general viewer, though, Smallville is smart, tart, and tidy.
  56. The Chicago Code provides superior cop drama thanks to its cast--starting with Brotherhood's Jason Clarke and Friday Night Lights' Matt Lauria as tough street police--and its creator (Shawn Ryan, who gave us The Shield).
  57. Boss may be florid, but its peeks into backroom in-fighting, at favors promised and betrayed, remain strong elements in its favor.
  58. Some weeks, the series works beautifully, moving along like the otherworldly detective show it's meant to be. ... But other times Angel can tip too far into jokiness—or, worse, come off like a supernatural version of hollow USA Network shows such as Silk Stalkings.
  59. Patty's suppose to be a manipulative liar, but that's too much to believe. Like pretty much everything about this show. [03 Aug 2007, p.61]
    • Entertainment Weekly
  60. Without the benefit of Bill Cosby's timing and avuncularity, the spouseribbing gags featured in the comedy legend's first televised concert in 30 years would come across as simply mean-spirited.
  61. If Brotherhood isn't as brilliant as The Wire, it's just as believable. The cast is so solid.
  62. It's a blast to watch Deschanel walk the line between broad comedy and complex emotion with growing scientific precision.
  63. The show was created by Jack Amiel and Michael Begler, but it's Soderbergh's vision, from the brilliant but unusual score (minimalist electronic music) to the wry camera angles (the series opens on Owen's shoes as he lounges in a brothel). For a period piece, it's strikingly contemporary--and quite gory, although the surgery scenes never feel gratuitous.
  64. Tone is everything in a detective show, and this one's is unique: easy-rolling yet prickly. [10 Sep 2010, p.82]
    • Entertainment Weekly
  65. 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.
  66. The acting ranges from intensely solid to intensely shallow, and the dialogue is often cliché and tinny. But the characters resonate, and DuVernay finds scenarios and images that suffuse the show with exceptional emotional power.
  67. The Good Wife will settle into a case-of-the-week lawyer show. I'd also bet it'll have a rotating bunch of colorful judges with whom Alicia can debate. And you know what? Given the caliber of the acting and writing, that suits me --and, I'll wager, millions of viewers--just fine.
  68. The show nails a stellar one-two punch, playing the rapid-fire barbs exchanged between the pigeon and Queensberry against Tyson's straight-ahead buzz-saw gags.
  69. At best, Daredevil feels like a pulpier Batman Begins, complete with daddy-issue flashbacks. At worst, it's a much better Gotham. [10 Apr 2015, p.58]
  70. 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
  71. The season's cleverest, most intricate sitcom.
  72. It’s a relief to find that Fresh Off the Boat is not only genuinely funny and surprisingly broad but also a little bit subversive.
  73. As uneven as it is, the series is now showcasing some of the best acting on television.
  74. I suspect Luck will need its own kind of good fortune to persuade HBO Subscribers to get on its wavelength--to go with the undulating rhythm of its storytelling. But it's worth the effort. [3/10 Feb 2012, p.104]
    • Entertainment Weekly
  75. Right now, it's relying too much on Michael's chainsmoking mom as hammy comic relief. [11 July 2008, p.65]
    • Entertainment Weekly
  76. 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.
  77. 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.
  78. While both these specials boast a fair number of yuks, we won’t repeat any lines.... We don’t have a durable enough dash key on our computer to start regurgitating Silverman's set.
  79. Beyond the sloggy Mistah Bates! scandal, which still gets too much attention, it's a relief to find no secret rapes or pregnancy shame (yet) this season. It's time for these proper ladies to have some proper fun.
  80. 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.
  81. Very few shows can get away with genuine moments of emotion while also incorporating the phrase "dead-baby tacos." [1 Oct 2010, p.72]
  82. The twisty tale tries to tackle more than it can handle in the suspense department, but the remarkable acting keeps you sucked in till the very last confusing second.
  83. Think Documentary Now! without the starry lineups, or Andy Samberg’s faux sports documentaries without as many tangents--and better yet, they manage to make a high-school dramedy work around the “documentary” itself. All in all, it’s an impressive tightrope walk.
  84. There's merry if repetitive humor in the nuances of [Sutton Foster's character's] physical and digital transformation. [3 Apr 2015, p.58]
    • Entertainment Weekly
  85. The show veers precariously between low-budget and lazy, and the sketches are hit-or-miss. Still, Jacobson and Glazer make an appealing odd couple. [24 Jan 2014, p.64]
  86. The wit is rapid-fire, and keeping up with Louis-Dreyfus as she sprints between appointments, all shaken up like a soda bottle about to explode, is good fun. But the humor is so meta, it's easier to find yourself thinking "This is funny" than actually laughing.
  87. Grease: Live defied modesty, transcended nostalgia, served up cheese as a ten-course gourmet meal.
  88. Together with Jon Voight, who's thrillingly twisted as Ray's crazy ex-con father, Mickey, Schreiber helps save this show from becoming just another drama about sex scandals diverted and TMZ headlines deferred.
  89. Gilmore Girls: A Year in the Life feels like a summary statement about the characters and their relationship to each other, even as it ends on a note that says nothing ever ends or fully resolves, not really.
  90. The best new series that few people in America are likely to watch. ... Stiller and his small cast of writer-players ... don't make fun of one thing at a time: They combine their subjects, creating rich layers of ridicule.
  91. The series occasionally displays the sweat stains of overexertion in the first few episodes... But once the intricate, greasy machinery of the policial/personal gets cranking in Brotherhood, there's no stopping the Caffee clan. [21 Jul 2006, p.59]
    • Entertainment Weekly
  92. The twist about Chuck's (Ed Westwick) cliff-hanger shooting is tres promising, but we're sick of S and B's frenemy fights du jour. Maybe Katie Cassidy's enigmatic Juliet can bring some glory back to Girl.
    • Entertainment Weekly
  93. High concept, and yet it works, thanks to solid acting.
  94. Home Improvement isn't the best family sitcom — Roseanne still goes further and deeper — but Improvement may be the most comforting.
  95. If you're the type of person who loves when a duckcall patriarch licks a hook under the guise of fishing technique, this is your show.
  96. Just when you worry the show is a pageant of ugly cliches about female rivalry, it gives you a poignant, nuanced scene to deepen the whole. ... Big Little Lies invests you in mysteries and the renewal and re-liberation of its women. Hopefully it can transcend to big little truths, too. [17 Feb 2017, p.50]
  97. It works cleverly within a borrowed premise and restrictive parameters to create allegory, but the premise and parameters also work against the allegory, too.

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