For 908 reviews, this critic has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 3.9 points lower than other critics. (0-100 point scale)

Tim Goodman's Scores

Average review score: 63
Highest review score: 100 Breaking Bad: Season 2
Lowest review score: 0 Women's Murder Club: Season 1
Score distribution:
908 tv reviews
    • 62 Metascore
    • 75 Tim Goodman
    Media Rights Capital, an independent production company, took an offbeat idea and made it work surprisingly well.
    • tbd Metascore
    • 75 Tim Goodman
    This is an everyman series, and James knows just how to sell that to the masses. The writing is sharp, and the oddball fringe characters (particularly Patton Oswalt) flesh out the show.
    • tbd Metascore
    • 75 Tim Goodman
    The entire cast is superb, and the actors seem comfortable in the groove the show has cut for itself. The writing is consistently sharp and focused. Most important, however, it has just the right sprinkling of obnoxiousness and cuteness.
    • 52 Metascore
    • 75 Tim Goodman
    As in "Sunny," they are almost-lovable losers, and that's a formula FX is now perfecting.
    • tbd Metascore
    • 75 Tim Goodman
    "Crank Yankers" is far better than expected. Not everything works -- remember, there's a lot of juvenile stuff here and bits where you'll roll your eyes -- but sometimes even the stupidest setup becomes hilarious merely by the graciousness of the person being duped on the other end of the line.
    • 75 Metascore
    • 75 Tim Goodman
    Logue and Raymond-James are, straight out of the gate, the two most believable and funny buddies you'll see on the screen.
    • tbd Metascore
    • 75 Tim Goodman
    Because of the heft of its 20 hours, there's a lure to the storytelling that makes everything, from pace to acting, more authentic, more real than in movies or TV series we're all familiar with. "Taken" can breathe, paint a bigger picture, and it's more accomplished because of it.
    • 51 Metascore
    • 75 Tim Goodman
    While it's true that television has been overloaded with acronyms lately and the redundant, long and confusing Navy NCIS is an egregious offender, it's also true that television is exploding with quality dramas and this is another of them.
    • 75 Metascore
    • 75 Tim Goodman
    A show that does what it's supposed to do -- keep you riveted and entertained. [25 Sep 2002]
    • San Francisco Chronicle
    • tbd Metascore
    • 75 Tim Goodman
    Yes, there's a lot less walking and talking. There is a limited amount of witty banter -- precisely enough so people not paying too much attention will never notice it's gone. What has increased... is heavy emotion a la "ER."
    • 69 Metascore
    • 75 Tim Goodman
    As long as the jokes stay barbed, fast and witty--as they are in the pilot--there's more than enough reason to keep following the band of misfits.
    • tbd Metascore
    • 75 Tim Goodman
    "The Simple Life" is a one-note joke, but it's a good one.
    • tbd Metascore
    • 75 Tim Goodman
    "Queer Eye for the Straight Guy" adds an element of fun and a twist to an overplayed genre, and should find a wide audience.
    • 63 Metascore
    • 75 Tim Goodman
    The writing is just clever enough to probably make the killing-a-week conceit work. And if you're into watching a phalanx of almost-recognizable actors you've seen in work you can almost remember, this is the series for you. Beyond that, it's just plain fun.
    • tbd Metascore
    • 75 Tim Goodman
    "The Surreal Life" is so bad it's good. Really bad. And really good.
    • 63 Metascore
    • 75 Tim Goodman
    Both Paquin and Moyer do well here. And True Blood is fleshed out with other interesting characters getting to spout well-written lines. But at times the whole thing seems silly.
    • 66 Metascore
    • 75 Tim Goodman
    V doesn't have an original premise - the humans versus aliens thing is as old as moving pictures. But the special effects are better, and if ABC can get you to buy into the storytelling then it might have another genre hit on its hands.
    • 63 Metascore
    • 75 Tim Goodman
    Imagine a lesbian "Friends," only smarter and better-looking.
    • 73 Metascore
    • 75 Tim Goodman
    Lone Star has enormous potential to be a complicated, tightrope-walking tale of two lives. Or it could just implode. Like "The Event," it's worth your investment, but you'll have to record one or the other.
    • 78 Metascore
    • 75 Tim Goodman
    There's some spot-on and sharp humor throughout, but it never gets too light and breezy.
    • 80 Metascore
    • 75 Tim Goodman
    It's a wonderful series that gets better every hour you watch it. ... But there's the catch. "Deadwood" is a slow starter.
    • 75 Metascore
    • 75 Tim Goodman
    Raising Hope works on two levels, the absurdist gags about dysfunctional families and lower-class values that populated "Earl," and the never-too-saccharine sweetness that Jimmy brings to the world. If Garcia can keep up this mix, Fox may have itself a non-animated comedy hit.
    • 58 Metascore
    • 75 Tim Goodman
    One of the benefits of watching LeBlanc keep his character afloat is that it's all comfortable. Not always funny, mind you, but an easy 22 minutes.
    • 64 Metascore
    • 75 Tim Goodman
    All told, this series is pleasantly unexpected, taking chances on TNT when it seemed the channel's DNA wouldn't permit that level of risk. If the writing continues to hold up, viewers could be in for a better ride than the one Hunter is already taking them on by herself.
    • 74 Metascore
    • 75 Tim Goodman
    It’s clear, then, that the allure and the annoyance of the series rest in the same area. FX gets “Nip/Tuck” to stand out in a crowded field by being provocative both under the knife and under the sheets. Sex and surgery are the draw, but the acting, the emotional battlegrounds and even the issues raised are ultimately the reasons the series excels.
    • 68 Metascore
    • 75 Tim Goodman
    Tonight's pilot has a film quality to it and the narrative flow is both intriguing and unexpected.
    • 67 Metascore
    • 75 Tim Goodman
    There's always a need for a pulse-pounding mystery with a little paranormal thrown in. If The Event proves it can let out the story while reeling viewers back each week, it could be something special.
    • 79 Metascore
    • 75 Tim Goodman
    It's helpful to remember that Life on Mars is less about said realism and more about Sam's twisted journey. Enjoying that retro-cool ride is the essence of the series.
    • 68 Metascore
    • 75 Tim Goodman
    Entourage works precisely because it's nearly soulless. These guys are wallowing in excess. Any less of a cannonball into it would seem unbelievable. But there's no ignoring how childish and annoyingly limited the group can be, including some aspects of Eric.
    • 75 Metascore
    • 75 Tim Goodman
    By having everyone around Jackie seem daft, quirky or incompetent--an attempt at humor, one would guess--the series never felt connected. Those elements improved by the ended of Season 1 and have, for the most part, been ironed out in the early episodes of Season 2 (though the tone will need to be monitored).
    • 64 Metascore
    • 75 Tim Goodman
    "Love Monkey" manages in one hour to be both funny and endearing, a more option-rich version of "Ed."
    • 66 Metascore
    • 75 Tim Goodman
    Better Off Ted is more funny than not, rushing into absurdity with abandon and playing at stylized comedy in a completely fearless way. The pacing doesn't allow for regret.
    • 75 Metascore
    • 75 Tim Goodman
    In the best tradition of light but engaging (and highly entertaining) dramas, Burn Notice is plain and simple fun--you want to come back every week.
    • 59 Metascore
    • 75 Tim Goodman
    It has a zest, from the voice-over to the sharp writing and sexy cast, that was completely unexpected. Duhamel has star appeal, and Caan is can't-miss.
    • 71 Metascore
    • 75 Tim Goodman
    NBC did renew Parks and Recreation and, like a small miracle of second-act redemption, it comes back on Thursday as a fully realized and very funny sitcom.
    • 43 Metascore
    • 75 Tim Goodman
    What works so well in the series is that the four friends are so distinctly different, and the writers are able to adjust the level of humor to each.
    • 79 Metascore
    • 75 Tim Goodman
    The television version of "This American Life" does not ruin the fragile, hip beauty of the radio version. Glass and the team responsible for adding pictures to words have created a compelling television series.
    • 70 Metascore
    • 75 Tim Goodman
    Glenister is still riveting, naturally, and Hawes is a real gift. Maybe that's enough to offset the smaller issues, like the cartoonish hero worship of Hunt (three quarters of the way through the pilot, there's a moment where you half expect a laugh track to kick in).
    • 77 Metascore
    • 75 Tim Goodman
    It's slightly unpolished in some areas but funny and charming and a perfect companion series to "Chris."
    • 67 Metascore
    • 75 Tim Goodman
    Though the pilot has some flaws in it--mostly from a clash of tones--it still overdelivers on creativity, creepiness, fine acting and burgeoning character development.
    • 56 Metascore
    • 75 Tim Goodman
    It's a whole lot better than the premise on paper, and though initially it takes a bit to warm to Davis.
    • 61 Metascore
    • 75 Tim Goodman
    It's rare to hate a series so thoroughly in the first five minutes and then have your mind changed (and stunned) by the creative comeback it mounts in the remaining hour. ... In fact, there's enormous potential to this series if the storytelling and writing stay strong.
    • 66 Metascore
    • 75 Tim Goodman
    Recount pays due diligence to history while at the same time fictionalizing the interactions of the participants.
    • 59 Metascore
    • 75 Tim Goodman
    "How to Make It in America" is, like "Entourage," more entertaining than actually funny. You're not going to burst out laughing at anything, but there are plenty of comic moments.
    • 55 Metascore
    • 75 Tim Goodman
    Deschanel, who's believable either serious or perplexed -- and adorable in her quirkiness -- immediately becomes this series' most important ingredient.
    • 78 Metascore
    • 75 Tim Goodman
    Though future episodes don't quite measure up to the brilliant pilot, Archer nurtures a collection of recurring themes that pile up and become funnier the more they are referenced through the episodes.
    • 89 Metascore
    • 75 Tim Goodman
    Just when it seemed that "Curb Your Enthusiasm," the crotchety, disdain-filled embarrassment of absurdities, was going to lose its way, Larry David seems to have found a new batch of wince-inducing scenarios to mine his comedy. [7 Sep 2007]
    • San Francisco Chronicle
    • 64 Metascore
    • 75 Tim Goodman
    With all the intrigue of a Shakespearean drama and all the coiled intensity of youthful power-brokering and rampant sexuality, it's hard to not like this version of Henry VIII.
    • 83 Metascore
    • 75 Tim Goodman
    Friday Night Lights, like "Battlestar Galactica," also proved initial assumptions wildly wrong and deserves credit for being vastly better than either a show about high school football or an irksome teen drama.
    • 64 Metascore
    • 75 Tim Goodman
    Lie to Me comes out of the box strong, and it's especially encouraging that the cases at hand and the science used in the first hour is compelling enough that Roth's character (based on Paul Ekman, a real-life expert on lying and microexpressions, among other things) can evolve more slowly.
    • 51 Metascore
    • 75 Tim Goodman
    The promise of grown up storytelling is alluring. This is a series to watch to see if it grows.
    • 61 Metascore
    • 75 Tim Goodman
    It does the near impossible for any extended-family drama: It manages to be poignant and funny without becoming ridiculously soapy and larded with cliches.
    • 59 Metascore
    • 75 Tim Goodman
    Ackles and Padalecki are good-looking, yes, get to drive a '67 Chevy and will undoubtedly run into a lot of really hot women in peril, but "Supernatural" works. It's just serious enough, just hip enough and, as advertised, more scary than imagined.
    • 67 Metascore
    • 75 Tim Goodman
    It's one of those series with overabundant potential and early hints of provocative brilliance, but it may take a while to truly arrive.
    • 64 Metascore
    • 75 Tim Goodman
    The series gets better with each episode, and the characters become funnier and more interesting when you come to know (or pity) them along the way.
    • 83 Metascore
    • 75 Tim Goodman
    '24' keeps you on edge like no other series. [28 Oct 2002]
    • San Francisco Chronicle
    • 79 Metascore
    • 75 Tim Goodman
    Big Love just doesn't induce love. And yet, the series crafts compelling stories.
    • 81 Metascore
    • 75 Tim Goodman
    Save for one far-fetched incident, the two hours provided enough clues as to where the season will head--and how much conflict from secrets and lies will be coming down the pike - to hook fans of the show who might have been waffling on the commitment.
    • 73 Metascore
    • 75 Tim Goodman
    Breaking Bad promises seven compelling and unique hours of drama.
    • 60 Metascore
    • 75 Tim Goodman
    At times slight--the trick of talking into the camera was never novel, and the absence of an erotic backbone made it feel partly contrived--Secret Diary of a Call Girl nevertheless ends up at an unexpected place: smartly satisfying.
    • 75 Metascore
    • 75 Tim Goodman
    The acting here is exceptional and the writing strong and honest. Though "Brotherhood" may not be in the rarefied air of "The Sopranos" or "The Wire," it's still a major achievement for Showtime's original-series development and yet another top-notch cable drama.
    • 38 Metascore
    • 75 Tim Goodman
    Unexpectedly, it's funny. And it gets funnier and sharper in future episodes.
    • 69 Metascore
    • 75 Tim Goodman
    What's partly holding "CSI: Miami" back from being great is that, as in the original "CSI," the whole premise is too pat.
    • 61 Metascore
    • 75 Tim Goodman
    It stars Elizabeth Reaser ("Grey's Anatomy"), as Bella, who strikes the right balance of snide, seasoned relationship survivor and romantic hopeful. There's a winning cast, particularly Rachel Boston who plays Bella's sister and Amir Talai ("Campus Ladies") as one of Bella's male buddies.
    • 65 Metascore
    • 75 Tim Goodman
    To its credit, there are a few extra twists along the way that make the show more intriguing and which hint at a slightly darker feel (but not too bleak) and a chance to have a more complicated story than simply one family with super powers.
    • 64 Metascore
    • 75 Tim Goodman
    It has a goofy charm and outsize ridiculousness that wins you over -- even if you'd prefer more snark.
    • 66 Metascore
    • 70 Tim Goodman
    Both Emerson and Caviezel are compelling and the way Nolan and Abrams have constructed the look (lots of nourish far-away shots in crowded streets, a sense of contained doom in an urban city) bodes well. That alone is worth the investment.
    • 58 Metascore
    • 70 Tim Goodman
    Better dense than dumb, however, and the move by Black Sails into something unexpected--better acted and better written than you might have guessed--is its own little treasure.
    • 74 Metascore
    • 70 Tim Goodman
    The pilot is one of those good-not-great propositions that many pilots are, particularly those trying to establish a complex world.
    • 67 Metascore
    • 70 Tim Goodman
    As first nights go, this was a winner for Corden.... This is very much a show under construction.
    • 73 Metascore
    • 70 Tim Goodman
    Arrow, proves to be both on-brand and entertaining--if you turn off the snark detector and downplay the need for plausibility or logic.
    • 66 Metascore
    • 70 Tim Goodman
    There's a great cast here--including Zeljko Ivanek as the president's Chief Of Staff and budding nemesis to Elizabeth; and Bebe Neuwirth as head of the staff Elizabeth has inherited. Yet the secondary players have yet to pop.
    • 73 Metascore
    • 70 Tim Goodman
    Battle Creek works best when it lays on the quirkiness and sputters a bit when it gets too coy or sappy about the crimes the detectives are solving. But the series, thanks to Winters and Duhamel, is very entertaining and kills an hour with ease (as most good CBS procedurals do).
    • 57 Metascore
    • 70 Tim Goodman
    There's a lot of genre-bending in this one but some real entertainment value, dramatic potential and, hell, if it can be half of what Battlestar Galactica was, that's a winning combination.
    • 67 Metascore
    • 70 Tim Goodman
    Maybe a solid Western-ish offering like Longmire will be good enough.
    • 63 Metascore
    • 70 Tim Goodman
    Mob City is a big, bloody, flashy, violent and pulpy exercise that slowly builds into some solid entertainment and it’s a fine, identity-bending effort on the part of TNT.
    • 67 Metascore
    • 70 Tim Goodman
    In many ways, The Bridge is better in season two than in season one, but for some reason it decided to triple-down on the plot and make the whole thing a complex web of interconnected stories.
    • 73 Metascore
    • 70 Tim Goodman
    This season’s determination to be bleak and honest isn't as pleasurable. The series is very good at what it does, but I can’t help thinking that more Gonzaga, Peet and Gallagher--in upbeat story form--would go exceptionally well with less dire versions of the excellent Lynskey, Zissis and Duplass.
    • 49 Metascore
    • 70 Tim Goodman
    Not all of the acting works all of the time, but the cast holds it together when necessary, guided with assurance by Montgomery, who alone deserves another episode or two just to appreciate.
    • 60 Metascore
    • 70 Tim Goodman
    Despite feeling like the concept owes quite a bit to the British series Gavin & Stacey, and a nagging suspicion that the evolution of one couple completely smitten and the other ready to spit on each other will take a long time to come around to four friends and two happy couples, that's not a problem if the jokes are funny. So far, so good.
    • 52 Metascore
    • 70 Tim Goodman
    A solid if unspectacular story about one of the most unlucky lawyers ever depicted on television.
    • 69 Metascore
    • 70 Tim Goodman
    As for first impressions, I liked it. ... Slight nitpicking should not obscure the fact that overall Wilmore was funny; his show was smart and thoughtful, has a bright future and seems an excellent fit with Stewart and the Comedy Central brand.
    • 78 Metascore
    • 70 Tim Goodman
    The first hour moves slower than people might be expecting, but builds to and ends on a wonderful cliff-hanger that is partly but not fully solved in the second episode.
    • 66 Metascore
    • 70 Tim Goodman
    A cool video-meets-soap concept that looks as fresh as anything in years. ... [But] the dialogue falters and the acting is, in spots, forced.
    • 73 Metascore
    • 70 Tim Goodman
    Stoppard's storytelling structure has an odd rhythm to it, and White's direction can be both majestically beautiful and transitionally jarring. But combined, their choices allow Parade's End to achieve an exquisiteness, a sense of high art.
    • 91 Metascore
    • 70 Tim Goodman
    There are so many characters and storylines in this complex series that to keep their arcs moving dramatically forward, writers David Benioff and D.B. Weiss, creators of the series and custodians of novelist George R.R. Martin’s world, have to parse out so many bits of dialogue and scenes to so many different actors that large chunks of a season often feel like they bounce around frantically, spending little fragments of time with one character and racing across Westeros to service another ad infinitum.
    • 67 Metascore
    • 70 Tim Goodman
    Despite coming out of the gates slower than is ideal in a crowded landscape, the series shows signs in the early going of blossoming into something much bigger and better. Before committing, however, you should be all in on Hardy. If not, look elsewhere, because this is absolutely his show.
    • 76 Metascore
    • 70 Tim Goodman
    After all the cream-puff politicians and supposedly brilliant strategists that the Underwoods have fooled all too easily in the first two seasons, a little payback and a little failure plays well for House of Cards.
    • tbd Metascore
    • 70 Tim Goodman
    Season two quickly confirms, in the first four episodes, that Leary has found out what everyone does best from the growth seen last season. Hendrix gets a major storyline that continues her character's evolution.
    • 62 Metascore
    • 70 Tim Goodman
    Other parts of Incorporated are less interesting but at least the story is trying hard, and every time it misses a beat (bloody cage fighting on overdrive out in the Red Zone) it does something cool like dream up a service where you pay someone on a loud dirt bike to drive you up 18 flights of stairs in a sketchy Red Zone apartment.
    • 62 Metascore
    • 70 Tim Goodman
    Yes, it can often sound like a pulp setup bound to go sideways, but Banshee ends up being taut, entertaining and smart enough, and you won't completely turn your brain off.
    • 58 Metascore
    • 70 Tim Goodman
    They are real people with plausible emotions. And in the hands of Josh Schwartz (Gossip Girl, The O.C.), Amy Harris (Gossip Girl), Bushnell and two other executive producers from the CW's Hart of Dixie, the storytelling has a chance to be handled maturely.
    • 69 Metascore
    • 70 Tim Goodman
    Pretty much all of the success in 11.22.63 comes from Franco being able to take the concept from bizarre to believable, with a major assist from Cooper, who combines with Franco in the early episodes (and flashbacks) to give this series its much-needed dramatic believability.
    • 64 Metascore
    • 70 Tim Goodman
    Chance is erratic and sometimes frustrating. But it battles hard to win back approval. And overall the glitches are outweighed by the finer creative points.
    • 61 Metascore
    • 70 Tim Goodman
    Sirens is a better than expected offering and probably better than the kickback it’s likely to get when it comes to faulty memories and dusty legacies.
    • 56 Metascore
    • 70 Tim Goodman
    It's quip-heavy, doesn't complicate things with too much plot, keeps the pacing brisk and litters the TV screen with beautiful people.
    • 58 Metascore
    • 70 Tim Goodman
    While it's not exactly Breaking Bad, stepping away from the too-pat world of "blue sky" TV into something edgier is a welcome diversion.
    • tbd Metascore
    • 70 Tim Goodman
    "The West Wing" needs changes, and it needs them now. Without a revamping of the show in some significant fashion, it runs the risk of losing its importance, dropping its political cachet and looking for all the world like a fine, if not sterling, bit of Hollywood fictional fluffery.
    • 77 Metascore
    • 70 Tim Goodman
    The Bridge is mandatory viewing for drama lovers, but it will be interesting to see where the writers take it and whether they have the big-league ability to make the evident potential materialize. One thing they’ve hopefully learned is that sometimes holding back information isn’t mysterious, it’s just confusing.
    • 70 Metascore
    • 70 Tim Goodman
    The vote here is to not only give Torchwood: Miracle Day a chance, but to ride out the bumpy parts and put some faith in Davies' unique take on storytelling.

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