Entertainment Weekly's Scores

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For 3,519 reviews, this publication has graded:
  • 81% higher than the average critic
  • 1% same as the average critic
  • 18% lower than the average critic
On average, this publication grades 5 points higher than other critics. (0-100 point scale)
Average Music review score: 78
Highest review score: 100 The Idler Wheel Is Wiser than the Driver of the Screw and Whipping Cords Will Serve You More than Ropes Will Ever Do
Lowest review score: 0 Playing With Fire
Score distribution:
  1. Positive: 3,085 out of 3519
  2. Mixed: 407 out of 3519
  3. Negative: 27 out of 3519
3519 music reviews
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    • 60 Metascore
    • 58 Critic Score
    Magna Carta Holy Grail
    I rank this album alongside Kingdom Come, which in a way was a transitional album toward the superior Blueprint III. Like others, I see (perhaps wistfully so) MCHG operating as a sort of stopgap until he releases something great, like a Blueprint IV.
    • 64 Metascore
    • 58 Critic Score
    Demi
    It’s too bad that her new album, Demi, sounds like such a decisive return to teen pop.
    • 49 Metascore
    • 58 Critic Score
    #willpower
    His milk-snortingly inept lyrical flow too often hijacks #will's beat-addled moneymaker shakers. [3 May 2013, p.63]
    • Entertainment Weekly
      • Posted Apr 26, 2013
    • 77 Metascore
    • 50 Critic Score
    The Terror
    Artists from Radiohead to Liars have explored this territory already, and better. [19/26 Apr 2013, p.112]
    • Entertainment Weekly
      • Posted Apr 23, 2013
    • 70 Metascore
    • 42 Critic Score
    Wolf
    Wolf's disengaged haunted-house funk plods joylessly through empty rage and squirmy homophobia. [12 Apr 2013, p.72]
    • Entertainment Weekly
      • Posted Apr 5, 2013
    • 68 Metascore
    • 42 Critic Score
    Comedown Machine
    The band vacillates between rudderless tone poems ("'80s Comedown Machine"), exhausting rave-ups (the screeching "50/50"), and bizarre A-ha biting ("One Way Trigger"), all of which overflow with incomplete ideas.
    • 50 Metascore
    • 42 Critic Score
    What About Now
    What About Now has enough always-darkest-before-the-dawn positivity and bland arena-country warm fuzzies to chock a true believer. [15 Mar 2013,, p.62]
    • Entertainment Weekly
      • Posted Mar 11, 2013
    • 64 Metascore
    • 58 Critic Score
    Trouble Man: Heavy Is the Head
    His eighth album exhausts with pointless proclamations of hardness, only occasionally turning inward to contemplate actual heavy issues. [21 Dec 2012, p.67]
    • Entertainment Weekly
      • Posted Dec 18, 2012
    • 66 Metascore
    • 50 Critic Score
    Jesus Piece
    Jesus Piece can't even make the playoff, thanks to Game's airless delivery. [14 Dec 2012, p.72]
    • Entertainment Weekly
      • Posted Dec 12, 2012
    • 85 Metascore
    • 50 Critic Score
    Celebration Day [Live]
    This vanilla artifact from Zep's massive 2007 reunion concert falls into all of the typical traps associated with live albums. [30 Nov 2012, p.73]
    • Entertainment Weekly
      • Posted Nov 21, 2012
    • 57 Metascore
    • 58 Critic Score
    18 Months
    His new album is called 18 Months, but it doesn't sound like it took anywhere near that long to make.
    • 56 Metascore
    • 42 Critic Score
    Lotus
    Occasionally she can still power through a chorus like a Russian weight lifter (see: ''Sing for Me''). Too bad most of these tracks digitally smother her voice, draining all the emotion until she just sounds bitter.
    • 68 Metascore
    • 50 Critic Score
    Take Me Home
    Most of Take Me Home is filler with barely enough zip to keep the kids up past dinner.
    • 70 Metascore
    • 58 Critic Score
    The 2nd Law
    Leave the rock operas to other Olympians; like elite sprinters, Muse are best when they're surging straight ahead.
    • 57 Metascore
    • 42 Critic Score
    The Spirit Indestructible
    A wasteland of electro-funk also-rans and half-baked nods to hip-hop. [14/21 Sep 2012, p.141]
    • Entertainment Weekly
      • Posted Sep 17, 2012
    • 60 Metascore
    • 58 Critic Score
    The Soul Sessions, Vol. 2
    As long as the original recordings by the Chi-Lites and the Rolling Stones continue to exists, Sessions' covers are passionately pointless. [3 Aug 2012, p.74]
    • Entertainment Weekly
      • Posted Aug 29, 2012
    • 52 Metascore
    • 58 Critic Score
    The Midsummer Station
    The Midsummer Station is loaded with so many platitudes and puns that it quickly descends into sugar shock.
    • 45 Metascore
    • 42 Critic Score
    Old School New Rules
    Old School New Rules leans heavily on that persona, spewing Internet-troll claptrap about the "gotcha" media and impinged freedom.
    • 54 Metascore
    • 42 Critic Score
    Wild Ones
    On his fourth album, Wild Ones, there's a distinct Flo Rida-shaped hole where his personality once was--and it's been filled with other people's songs.
    • 38 Metascore
    • 42 Critic Score
    Fortune
    Almost nothing here swerves out of Fortune's featherweight club-funk cruising lane.
    • 54 Metascore
    • 58 Critic Score
    Overexposed
    On much of the album, which never quite finds a balance between rock grit and dance-pop glitz, Maroon 5 barely sound like a band at all.
    • 72 Metascore
    • 50 Critic Score
    Oceania
    {The music] never breaks out of a gauzy prison of pleasantness. [22 Jun 2012, p.64]
    • Entertainment Weekly
      • Posted Jun 18, 2012
    • 63 Metascore
    • 58 Critic Score
    Picture Show
    Picture Show's mixed bag of angular post-punk, moody synths, and blasts of mainstream rock (see ''Everybody Talks'') doesn't quite have the wit, charm, or cool of its aughties touchstones.
    • 58 Metascore
    • 58 Critic Score
    New Life
    Her seventh album is a thoroughly last-millennium set of self-help ballads about starting over.
    • 47 Metascore
    • 58 Critic Score
    Amaryllis
    Their fourth album genuflects once again to the standard over-revered '70s idols. [301 Mar 2012, p.75]
    • Entertainment Weekly
      • Posted Mar 28, 2012
    • 59 Metascore
    • 58 Critic Score
    Roses
    Stalwart fans may swoon, but Roses, like its title track, just kinda wilts.
    • 56 Metascore
    • 58 Critic Score
    Scars & Stories
    Even producer Brendan O'Brien (Bruce Springsteen, Neil Young) can't save Scars & Stories from generic TV-soundtrack mediocrity.
    • 62 Metascore
    • 58 Critic Score
    Born to Die
    All tabloid tawdriness aside, she unleashes some truly A-level songs. But 
its baffling failures drop Die to a middling, maddening C+.
    • 69 Metascore
    • 50 Critic Score
    Which Side Are You On?
    Here, she gets stuck in too many clunky Big Idea statements about equality and social politics.
    • 57 Metascore
    • 50 Critic Score
    Come Through for You
    The former major-label casualty barely makes a dent in snoozy soft-rock tunes co-written by Kris Allen (''Raise Your Hand'') and James Blunt
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