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 Party Down: Season 2
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. 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
  2. The story is sweaty with provocative, post--al-Qaeda, post-Snowden security anxieties--drone warfare, abused surveillance, and secrecy--but the treatment so far is superficial and sensationalistic.
  3. Not since Freaks and Geeks has adolescent humiliation been handled so warmly.
  4. [The premiere episode] begins with some decent gags (Maron wanting to profess his love with a toe ring!) before he gets to groaners.
  5. There are many things to enjoy about this special-effects-makeup competition. [25 Jul/1 Aug 2014, p.106]
  6. The case is mildly intriguing, but the humdrum PI will have you Googling Sherlock's return date. [16 Jan 2015, p.71]
    • Entertainment Weekly
  7. Masters of Sex excels when Virginia Johnson and William Masters are together, so it's to the season 4 premiere's detriment that they share only a few mostly uneventful minutes on screen. Still, the duo deliver nuanced performances. [9 Sep 2016, p.55]
    • Entertainment Weekly
    • 70 Metascore
    • 75 Critic Score
    College-set shows are nothing new, but The Quad proves there is still fertile ground to explore in terms of original storylines and drama, with the series serving up both with no problem. The show may not make you want to go back to school, but it’s certainly worth dropping in on once a week.
  8. It all makes for lots of great soapy intrigue, and Byrne makes you believe he can solve everyone's problems. Except his own.
  9. The X-Files is the most paranoid, subversive show on TV right now...Filled with florid dialogue (''You've seen things that weren't meant to be seen!'') and not-bad special effects, X-Files is a hoot about hooey.
  10. The gimmick is hokey, but beneath it lies a surprisingly untrashy reality show that actually sheds some light on the dating game.
  11. The Path is best when it offers more than just skepticism and cynicism.
  12. It not only has all the classic sitcom ingredients but also adds a new, more refined aggression to the mix.
  13. The campy, trampy series still boasts one of the best ensembles on TV, although this overstuffed episode feels like the show might now be more aptly titled Crazy Sexy Money.
  14. A menacing batch of Project Castor boy clones (Ari Millen) proves some spark. More please. Orphan Black needs a jump start of imagination that can produce stories worthy of its electrifying star. [17/24 Apr 2015, p.105]
    • Entertainment Weekly
  15. Jean appears to have liked humiliation... Such masochism is hard to watch, even with a stellar cast. [24 Feb 2006, p.58]
    • Entertainment Weekly
  16. The resolution with the ghost is plenty satisfying, but ultimately Medium's strength is that it's not about the ghosts.
  17. The Middle has nothing to worry about: People from coast to coast are going to be laughing at this swift sitcom.
  18. For the willing, it's still a story worth hearing. [2 Mar 2007, p.64]
    • Entertainment Weekly
    • 70 Metascore
    • 91 Critic Score
    The show's best tension comes from the awesome/awful self-awareness that plagues the directors as they attempt to make a film while being very much filmed themselves.
  19. If you're looking for the season's smartest, most comfy and engaging new thriller, 'Sisco' is it.
  20. Hannibal takes our own fixation on psycho-pop and serves it back to us in a dish full of flavor. Bon appétit, horror freaks.
  21. Somewhere between Murphy's ambitiousness and FX's desire to be basic cable's HBO, the cleverness got suctioned out of this show, and the result is a cross between 'General Hospital' and 'Extreme Makeover.'
    • 70 Metascore
    • 83 Critic Score
    The result is fun, light, and sexy, powered by Lavi's undeniable allure and ability to rock a wig. [Feb 3/10 2017, p.102]
    • Entertainment Weekly
  22. The opening of Weeds makes me want to scream. ... That said, Weeds is a dozen times more creative than its opening credits.
  23. The first season of Real World had a lot of momentum just because of its sheer novelty. The second season began to drag because the El Lay crew proved generally to be self-absorbed bores. But the current Real World benefits enormously from two ticking time bombs: Puck's outrageously boorish behavior, which is destined to set off explosive fights with his roommates; and, more profoundly, Pedro's HIV-positive status, which adds another layer of self-consciousness to this TV project.
  24. 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.
  25. There are enough surreal, self-referential, and/or testicle-related jokes to have me signing up for at least a few more weeks of tutelage. [8 Feb 2013, p.69]
    • Entertainment Weekly
  26. This is a wildly over-the-top but thoroughly entertaining soap opera, and it works because it follows the same philosophy Bobby does: If you want to succeed, you don’t have to be the smartest one in the room. You just have to be shameless.
  27. Just trust me, this show is super-funny.
  28. The setup leaves Holloway as a person torn between two bad choices--a spot in which the actor thrives--and the mystery of who now rules L.A. should be enough to keep you interested. [8/15 Jan 2016, p.99]
    • Entertainment Weekly
  29. The biggest disappointment about The Killing's surprising return is its strategy for cheating death: by dialing down the ambition, by becoming more conventional. Still: It's good enough. And for this show, that's a strong step in the right direction.
  30. This lighthearted, thin import is worth a watch. [20 Jun 2014, p.60]
    • Entertainment Weekly
  31. There are still quite a few good reasons to watch this flawed show. The pilot features some clever twists that I won’t ruin here. The dialogue can be highly quotable, in an engrave-this-mantra-on-your-iPad way. (“Computers aren’t the thing–they’re the thing that gets us to the thing!”) And McNairy is fantastic, simmering with quiet intensity that suggests that there’s much more to Gordon than we’re privy to in the pilot.
  32. Even if it soon crashes and burns, this pilot for Flying Blind is easily one of the best debut shows of the year.
  33. All are very likable, which is a worthy enough reason to watch.
    • 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.
  34. Portrayed with aplomb by Van Der Beek, Diplo is an intentional contradiction. .... There's some comedic potential here, but WWDD? doesn't deliver the joke density or fun absurdity of similar, better send-ups like the Lonely Planet's Popstar. [4 Aug 4 2017, p.55]
  35. The humor's not as sharp as Curbed--one bit finds Nathan wondering if waitresses should really wipe down tables with rags, since they're dirty--and the cameos feel gratuitous. Only JB Smoove earns his screen time. [9 Aug 2013, p.73]
  36. Rubicon doesn't have the glossy panache of Mad Men or the in-your-face confrontations of Breaking Bad, but I think that's a good thing. It establishes Rubicon as its own distinct creation from AMC.
  37. 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]
  38. Target is a helluva lot of fun. Valley delivers punchlines as well as he does elbows to the faces of villains.
  39. [They're] doing the whole Dangerous Minds thing that's admittedly hard to resist--and naturally, based on a heartwarming true story--even if it's nothing particularly new. [22/29 Apr 2011, p.92]
    • Entertainment Weekly
  40. The pilot is promising, with sharp dialogue, a solid supporting cast, and Kaling's appealing unapologetic protagonist. [28 Sep 2012, p.64]
    • Entertainment Weekly
  41. Gloss aside, Morals can be impressive in its slow-burn storytelling, and scenes are often visually stunning. [21/28 Aug 2015, p.96]
    • Entertainment Weekly
  42. 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.
  43. Naturally funny interviews are easy TV; it's with drier material that the animators shine. [8 Jun 2007, p.74]
    • Entertainment Weekly
    • 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.
  44. If [James Spader's] Shore seems a bit off, the show's tone is even more so. ... Despite these weaknesses, there's hope.
  45. They [Rupert Penry-Jones and Phil Davis] make an appealing upstairs-downstairs odd couple, even if the nifty concept--studying centuries-ago crimes to help solve contemporary cases--is starting to wear thin.
  46. The premise sounds vaguely familiar... But The Tunnel still delivers on its nasty twists. [17 Jun 2016, p.63]
    • Entertainment Weekly
  47. Think Big Love-meets-Carnivale and you're in the ballpark, but The Riches boasts its own weird, violent, druggy, hilarious mix. [16 Mar 2007, p.63]
    • Entertainment Weekly
  48. It's still a bit chintzy, though--it simply can't support the scale it craves. Yet Da Vinci just might have purged enough creative demons to be, at the very least, a guilty geek pleasure. [21 Mar 2014, p.59]
  49. [Strong and Daniels} oversee the pilot with an unfussy style and attentiveness to nuanced characterizations. I hope they have enough imagination to nurture an ongoing series without pulling punches ... or going soap opera cray-cray.
  50. Mostly his adventuress result in stray one-liners and stilted semi-riffs. Imagine a less nourishing Louie or Curb Your Enthusiasm, full of empty calories. [24 Jul 2015, p.54]
    • Entertainment Weekly
  51. 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.
  52. The tone changes so abruptly, what's meant to be funny comes off as bitter. [5 Dec 2015, p.65]
  53. We never thought we'd laugh out loud with a laugh track again. [23 Sep 2005, p.81]
    • Entertainment Weekly
  54. The sharply scripted, crisply directed premiere hooks you with twists and turns, and Anderson and Sasse are crazy appealing. [7 Oct 2016, p.51]
    • Entertainment Weekly
  55. This ethically debatable movie depicts her as a brat abroad, enjoying sex and drugs with her boyfriend, and implies Knox (who is appealing her conviction) did the deed.
  56. If Betas keeps up with millennial cleverness, it's also sometimes a little too on-the-nose.
  57. A standard detective story that's brightened by unusual characters and snazzy dialogue.
  58. As usual, the improvised feel of the show adds to its energy.
  59. The fun and challenge of The Detour is how it seems to be going for comedy in every direction, from delicate character comedy to sight gags to gross-out humor to full-fledged farce.
  60. I'll admit, I was a wee bit worried after last season's annoying Georgina story line and relentless drama about the past that haunts Serena (Blake Lively). But fear not, groupies: Summer's been good to this Girl.
  61. Bunbury is breakout great and Gosselaar is something of a revelation. ... The storytelling relies too much on real-world sportscasters to narrate and debate the action. Their dialogue is canned and their performances are stiff, undermining the pursuit of authenticity.
  62. 11.22.63 reaches some thoughtful, moving conclusions, but oh, what coulda been with a more engaged star. If only there were a time machine to fix that mistake.
  63. It'll make cyberthrillers like Black Mirror and Mr. Robot feel all too real. [29 Jan/5 Feb 2016, p.104]
    • Entertainment Weekly
  64. I like Caruso as leader Horatio Crane; the actor's way with quiet anguish is suited to his role as a grim, relentless crime-scene examiner. But after that, my reservations begin.
  65. Wilmore had a few bugs in his performance on opening night: He was a little too giggly, and a few times he spokesofast it turned his lines into what-did-he-say? mush. That said, his clear excitement for this opportunity was endearing.
  66. The series needs to propel its mostly superb actors into action, to push the narrative forward. [6 Apr 2012, p.63]
    • Entertainment Weekly
  67. Patriot's quirkfest requires patience, but rewards your allegiance over time. [24 Feb/3 Mar 2017, p.91]
  68. Big Time is still good for a solid slack humor a la Workaholics and the Wrong Mans. [20/27 Mar 2015, p.94]
    • Entertainment Weekly
  69. Don't think Leverage is preachy--it's shrewdly conceived, and it moves along like a son of a gun.
  70. It's not just a gripping family story--it's an important one for all families to watch. [12 Jun 2015, p.70]
    • Entertainment Weekly
  71. As a profane peek into current showbiz, Entourage is excellent, dirty fun.
  72. [A] family-friendly, charming show. [Jun 17 2011, p.91]
    • Entertainment Weekly
  73. As soap, Greenleaf bubbles with an abundance of intrigue and too many clichés. ... Still, the characters are compelling enough, and the performances are uniformly strong, if a touch too serious.
  74. In a TV landscape bloated with serialized, surprise-a-minute thrillers, it'll take more than a sparkly thespian roster to keep viewers interested. [22 Sep 2006, p.89]
    • Entertainment Weekly
  75. Ultimately, Homeland‘s first two episodes do enough to earn your interest. But it feels a lot like Quinn: haunted by the past, disoriented in the present, and perhaps incapable of moving into the future.
  76. Big Love is very, very good this season.
  77. Heart of Texas is looser, even whimsical at times.
  78. Overall, Hatfields & McCoys is engrossing, and enlightening about a feud that proves to be a lot more than the bumpkin brawl of pop legend.
  79. On its mild merits, it proves worthy. [2 Dec 2005, p.73]
    • Entertainment Weekly
  80. Henry and Anne nag and harp and tongue each other. It's like asking us to root for a particularly vapid reality TV couple.
  81. Sons of Anarchy could be the antihero drama to end all antihero dramas, but it'll have to shift into some new gears to go out in the blaze of ingloriousness it deserves.
  82. It's a good mix of highbrow humor and silly, kick-in-the-pants laughs. [22 Jan 2016, p.66]
    • 68 Metascore
    • 83 Critic Score
    This intimate biopic of a Kennedy matriarch is quite charming.
  83. While Another Period sometimes leans too heavily on "It's 1902!" gags, it's buoyed by an absurdist sensibility, genuinely surprising jokes, and a strong cast. [26 Jun 2015, p.54]
  84. It returns with an emotional and surprising (hint: you'll never look at icicles the same way) premiere.
  85. 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
  86. How to Get Away With Murder begins with an actual murder--a group of hypercompetitive law students are fighting over what to do with the body--before it flashes back to their first day in Keating's class, quickly establishing each character before discrediting our first impressions.... Thanks to Davis' powerfully layered performance, it's impossible to read Keating.
  87. There are no big sociopolitical statements here, no guerilla-style confrontations, no scenes of squirmy awkwardness, no multilayered pop culture references. It's just a very smart, very funny show.
  88. This eccentric romantic comedy deserves a chance to survive.
  89. Murray decides to improvise a boozy party for stranded hotel guests and workers. It’s here, after a sputtery start, that the irony thaws and a warm, lovely spirit takes hold.
  90. 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.
  91. The show is best when Sorrentino and Law produce arresting moments that play like ironic religious art. [13 Jan 2017, p.52]
  92. There's a danger that visitors to Rome may contract a mild case of Naughty Classy Cable Fatigue.
  93. Right now Pan Am doesn't seem to know exactly what it wants to be; it's experimenting with tone, and seeing what works and what doesn't. That's the kind of attitude that, if done right, should lead to an interesting series. [30 Sep 2011, p.62]
    • Entertainment Weekly
  94. With a season-long focus on a single case, the story has plenty of breathing room, and the San Francisco setting feels particularly natural. As unnecessary things go, Murder is exquisite. [13 Jun 2014, p.75]

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