For 885 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 4.1 points lower than other critics. (0-100 point scale)

Tim Goodman's Scores

Average review score: 62
Highest review score: 100 Everybody Hates Chris: Season 1
Lowest review score: 0 The Neighbors: Season 1
Score distribution:
885 tv reviews
    • 74 Metascore
    • 75 Tim Goodman
    Fans can read into it whatever they want, but the series' greatest strength is the vampire quality of accepting fate and reveling in it.
    • 74 Metascore
    • 38 Tim Goodman
    By the time the second hour comes on Monday and tries to give these characters some dimension, you already know that the talent on both sides of the camera simply isn't there to make this a worthwhile trip.
    • 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.
    • 74 Metascore
    • 90 Tim Goodman
    Episodes, which got uproarious laughter in cut-down form at the Television Critics Assn. press tour in July, does not disappoint an ounce as it rolls through a seven-episode season. It also signals a savvy return to television for LeBlanc, who manages to be the butt of the joke one moment then hilariously likable the next.
    • 46 Metascore
    • 50 Tim Goodman
    It's painfully derivative on so many fronts that it sometimes seems you're watching five reality shows at once.
    • 74 Metascore
    • 80 Tim Goodman
    Where Westworld is at its best is in the deeper issues that will unspool slowly, like a good mystery. Early episodes are adept at getting at the base attractions of the park and why people would come, but also in setting up a sense of confusion about motives. ... The series benefits from a number of standout performances.
    • 74 Metascore
    • 100 Tim Goodman
    In Cinema Verite, 90 minutes might not do justice to the historical impact of An American Family. But it makes you wish there were 90 more minutes to the story, which is saying something.
    • 74 Metascore
    • 80 Tim Goodman
    The film isn't trying to break ground with revelations, so what it comes down to is whether Game Change is a good movie, as opposed to a balanced documentary. For the most part, it is.
    • 98 Metascore
    • 100 Tim Goodman
    The funniest thing you're likely to see all year.
    • 73 Metascore
    • 80 Tim Goodman
    Humans finds a way to bring intrigue to a very familiar conflict.
    • 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.
    • 73 Metascore
    • 80 Tim Goodman
    Along the way, Elementary should prove rather conclusively that it's a solid cousin to Sherlock and will give fans of the character more chances to see him solve crimes.
    • 73 Metascore
    • 75 Tim Goodman
    If the ambition of the pilot continues, American television may get another remake right. We'll have our first hint this next week. In the meantime, enjoy the pilot.
    • 73 Metascore
    • 75 Tim Goodman
    Breaking Bad promises seven compelling and unique hours of drama.
    • 73 Metascore
    • 75 Tim Goodman
    "Andy Barker, P.I." is a joyous, ridiculous, warm, affecting and silly comedy that is tone specific (read: Not everybody is going to get the vibe, and thus the jokes).
    • 73 Metascore
    • 80 Tim Goodman
    The pacing, the writing, the directing all contribute to making Thirteen seem unusually fresh within the framework of a familiar story, but there's no getting around the fact that Comer, as Ivy, absolutely seizes the opportunity here to be daring.
    • 73 Metascore
    • 100 Tim Goodman
    Welcome back, 30 Rock. Even in a season of wonderful sitcoms--trend story alert!--you get it done.
    • 68 Metascore
    • 100 Tim Goodman
    Few series have exploded onto the scene with such a rich array of potential stories and inherently interesting characters.
    • 73 Metascore
    • 80 Tim Goodman
    First, the series is completely on point with what the network is doing elsewhere (Arrow, etc.). Second, it's actually very well done. And third, it's wholly entertaining.
    • 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.
    • 73 Metascore
    • 80 Tim Goodman
    Mostly it’s great to see Tennant and Colman try to put back the pieces of the wrecked lives of Hardy and Miller.
    • 73 Metascore
    • 80 Tim Goodman
    There's a nice balance of humor (Groff in particular gets to milk the comedy) and emotional drama coursing through it (like Girls, which makes a fine pair for it on Sundays).
    • 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.
    • 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.
    • 73 Metascore
    • 90 Tim Goodman
    It is, flat out, one of the most intriguingly entertaining new series of the year, and it’s so much more than pure entertainment. For a sci-fi series, there’s some real heft to it.
    • 50 Metascore
    • 50 Tim Goodman
    CBS can turn a lot of tired fluff into sitcom hits, so who knows about Accidentally on Purpose? There are laughs here and there, but mostly it's all so very familiar and not remotely as funny as "Modern Family" or "Cougar Town."
    • 73 Metascore
    • 80 Tim Goodman
    Coppola and Schwartzman, who has a great cameo about a reporter doing a podcast, dole out just enough in these half-hour episodes to keep it light, funny and (by the fourth episode) a bit more brazenly quirky, while also not losing touch with the story's core--which is the music.
    • 58 Metascore
    • 50 Tim Goodman
    Intriguing--but not especially enjoyable.
    • 58 Metascore
    • 50 Tim Goodman
    Three sitcom veterans can elevate comfortable mediocrity only so high. There's probably not one setup, premise or joke that you haven't seen before (or will see coming) in the entirety of your sitcom-watching life.
    • 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).
    • 73 Metascore
    • 80 Tim Goodman
    London Spy is a love story, then, between Danny and Alex first and foremost--one of the most intimate and nuanced of gay love stories put on TV in some time. Smith’s precision in this arena is at the heart of what makes London Spy so good.
    • tbd Metascore
    • 80 Tim Goodman
    If you're thinking that "TV Funhouse" makes "South Park" look like "Masterpiece Theatre," well, you're pretty close. The laughs here often are scatological, sexual or just plain childish and silly. Which, of course, is the whole reason for watching.
    • 73 Metascore
    • 70 Tim Goodman
    There is very little urgency in the storytelling--layers of voiceover bits don't help, even--and therefore Outlander can hardly be described as compelling. In many ways, this is a story well and thoroughly told but with almost none of the smart pacing of similarly dense fictions like Game of Thrones. And yet the world created in Outlander is not without interest.
    • 73 Metascore
    • 80 Tim Goodman
    [A] gripping, smartly written, dark and beautifully directed new French series.
    • 70 Metascore
    • 50 Tim Goodman
    The pilot is so packed with nauseating moments meant for shock value that only the most desperate of viewers will get to the second episode in search of something, well, a little less wince-inducing.
    • 73 Metascore
    • 80 Tim Goodman
    So, during the course of three episodes, there's not much sucking up, enough dissing to keep the whole thing honest, tons of magnificent cars, fast driving and enough goofiness to make this Top Gear get off the line without any mishaps.
    • 73 Metascore
    • 30 Tim Goodman
    Getting On is mostly a depressing and unfunny (which is more depressing) look at an eldercare facility, the people winding down their days ignominiously in said facility and a handful of people who work there.
    • 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.
    • 72 Metascore
    • 50 Tim Goodman
    After watching the first four episodes, it's clear that despite the familiar adrenaline rush and a (temporarily) tighter rein on the ridiculous, 24 hasn't changed much at all.
    • 86 Metascore
    • 100 Tim Goodman
    It's a gloriously visual fairy tale full of saturated colors and whimsical stories, the kind of romantic comedy/whodunit that should, by rights, captivate a nation starved for quirkiness and delight.
    • 72 Metascore
    • 60 Tim Goodman
    The series feels reinvigorated [with the time jump to 1966]. What remains problematic--and there’s no real fix for it--is that viewers have had 24 episodes of Masters and Johnson’s evolving relationship and the latter part of that was a lot of bickering and problems that only highlighted the fact that Masters has never been very likable.
    • 72 Metascore
    • 70 Tim Goodman
    It's that very attraction--familiar characters acting with familiarity and only the slipperiest of soap schemes to throw them off course--that fuels this series. It's not particularly elite anymore, but it's incredibly efficient.
    • 72 Metascore
    • 90 Tim Goodman
    Every actor nails their lines, which keeps Veep moving at a brisk pace. In fact, the episodes seem to end so quickly, you'll wish they lasted an hour.
    • 72 Metascore
    • 80 Tim Goodman
    As it stands after two entertaining episodes, there's a lot that Agent Carter can do going forward. It already feels like a series, and if it can keep that up--plus highlight the hell out of Hayley Atwell--then a second season should come easy.
    • 72 Metascore
    • 80 Tim Goodman
    Welcome to Sweden knows the story it wants to tell, and it does so in tightly crafted half-hour blocks that are fjords full of charm.
    • 72 Metascore
    • 50 Tim Goodman
    The decline of '24' is almost as harrowing as one of its patented pulse-pounding dramatic moments. ... Maybe '24' won't be so head-slappingly ludicrous this time around, but the first two episodes do little to give cynics reason for hope. [27 Oct 2003]
    • San Francisco Chronicle
    • 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.
    • 72 Metascore
    • 80 Tim Goodman
    Ripper Street is a well-acted, well-written and compelling mystery series. And even better, there's no waiting around, wishing it would improve. It's alluring from the start.
    • 72 Metascore
    • 100 Tim Goodman
    Watching Fox’s wonderfully creative and ridiculously entertaining new series, The Last Man On Earth, you can’t help but laugh (it’s a comedy--duh), but also be truly and utterly impressed.
    • 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.
    • 57 Metascore
    • 25 Tim Goodman
    Luckily, the writing here is so moronic and the situations so forced and mundane, it's easier to dismiss what is, all told, pretty fantastic work on behalf of Galecki and Parsons.
    • 81 Metascore
    • 88 Tim Goodman
    What helps separate "The Nine" from others in this season's crowded field are stellar performances throughout and a steady, sure hand in the pilot.
    • 70 Metascore
    • 25 Tim Goodman
    The writing is forced and thin, some of the acting stagey, most of the characters unlikable and - the show-killer quality that HBO execs apparently failed to see--profoundly boring.
    • 78 Metascore
    • 100 Tim Goodman
    "Weeds" is colossally great... a series far better than its premise and utterly essential for devotees of smart, entertaining television.
    • 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.
    • 45 Metascore
    • 50 Tim Goodman
    [It] ultimately succumbs to being an inferior story on a broadcast network that can't even remotely match two far better cable series ["The Sopranos" and "Brotherhood"].
    • 72 Metascore
    • 90 Tim Goodman
    The Rashomon-style storytelling takes a bit to get used to, and the sometimes feverish flow of the jokes (which fans may remember from the hall-of-fame first three seasons) struggle to unleash themselves in the first couple of episodes, but then it snowballs into seven-and-a-half hours of hilarity just waiting for a movie to follow it up.
    • 72 Metascore
    • 80 Tim Goodman
    This kind of limited series is a step in the right direction. And it sure helps that the first hour is intriguing as hell and filled with a lot of storytelling promise. If viewers catch the pilot, they’ll be back for the next episode. Some critics, too.
    • 72 Metascore
    • 60 Tim Goodman
    Outside of Stoll, The Strain struggles to develop its characters in the first few episodes.
    • 72 Metascore
    • 88 Tim Goodman
    A very original, extremely well-acted and complexly written drama.
    • 72 Metascore
    • 100 Tim Goodman
    Right out of the gate, "The Boondocks" is a water-cooler series that lives up to the hype. It is funny, fearless and continues the vibe of the strip.
    • 72 Metascore
    • 50 Tim Goodman
    There is something too pat, too telegraphed in "Invasion" to rile up the blood.
    • 72 Metascore
    • 75 Tim Goodman
    Screenwriter Amanda Coe is to be credited not only for developing such rich characterizations, but also for the delicacy of the show's satiric point of view.
    • 72 Metascore
    • 70 Tim Goodman
    There were some nerves--how could there not be?--and there were plenty of flashes of the wickedly smart and super-fast comedic intellect he’s honed over the years. Did it all work? Of course not. But what I liked most was the feeling that Colbert was going to reveal a side of himself that he didn’t get to show much on the Colbert Report or even The Daily Show.
    • 71 Metascore
    • 100 Tim Goodman
    As good as Rome is -- and it's an epic, multilayered thing of beauty -- it's still not on the level of "The Sopranos" or "The Wire" or "Deadwood." That's almost an unfair comparison, but it's also true. On the other hand, "Rome" unfolds like a marvelously shot big-screen movie, each scene (filmed on location in Italy) dripping with money well spent and a meticulous grandeur that rewards you for paying extra for HBO.
    • 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.
    • 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.
    • 71 Metascore
    • 100 Tim Goodman
    If you like big-screen-level thrills and complicated plot structures, you'll opt-in to FlashForward. And you'll be rewarded. Here's hoping it stays strong and compelling as it heads to April 29.
    • 61 Metascore
    • 75 Tim Goodman
    More emotional, equally gripping, "CSI: N.Y." proves that with care you can successfully copy yourself across the TV schedule. [21 Sep 2004]
    • San Francisco Chronicle
    • 71 Metascore
    • 75 Tim Goodman
    "Thief" doesn't levitate with genre-busting genius, but it is very FX, which means it's very real and well executed, a series that doesn't pander.
    • 71 Metascore
    • 50 Tim Goodman
    Ultimately, everybody's affable in this series. There are no sharp right angles, no emotional elbows.
    • 71 Metascore
    • 60 Tim Goodman
    While the acting government is scrambling to reset itself, Designated Survivor spends a lot of time on Tom's wife, Alex (Natasha McElhone), who is trying to buoy his spirits (he was fired 15 hours earlier and then, well, you know); the Kirkmans' cute daughter, who can't figure out what's going on; and teen son Leo (Tanner Buchanan), acting like an obnoxious teenager and stuff. Yes, we need to know about his family, but not for all the minutes we're given in the pilot.
    • 71 Metascore
    • 70 Tim Goodman
    As comedy pilots go this season, the end result is a rarity in that there were laughs.
    • 71 Metascore
    • 70 Tim Goodman
    Agents of SHIELD always felt like a series that was missing a center (those superheroes), and it took a lot of episodes for the series to even find its own way and establish its own characters as at least semi-interesting substitutes to what you got at the movies. Gotham, on the other hand, arrives as its own entity, a wholly realized universe, in a separate time and place, with enough intriguing characters and a stylized visual presence that is immediately intriguing.
    • 71 Metascore
    • 80 Tim Goodman
    The escapism is sky high. Valley remains as charismatic as ever, with McBride's disdainful asides and Haley's chilly creepiness intact. It would be unfortunate if Human Target somehow got soapy or dumber, because good popcorn is rare.
    • 53 Metascore
    • 50 Tim Goodman
    There are bits of "8 Simple Rules..." that are genuinely funny and hint at better things to come. But the full 22 minutes doesn't stick together well and ends up feeling like a comedy that's been overdone.
    • 71 Metascore
    • 100 Tim Goodman
    The new offering, from executive producers Ronald D. Moore and David Eick (the team behind "BSG"), stands on its own and in many ways might be more inviting to viewers who are not hard-core sci-fi fans.
    • 45 Metascore
    • 25 Tim Goodman
    This is a series that shimmers with potential -- until Dove shows up. Someone at the network must have thought "Free Ride" was too irreverently weird and creatively nuanced, so they made Dove as annoyingly cartoonish as possible.
    • 71 Metascore
    • 30 Tim Goodman
    Nine years later, The Comeback is back, as unwatchable and unfunny as the first time around.
    • 71 Metascore
    • 80 Tim Goodman
    The show from creator Nahnatchka Khan is fresh and funny, with fast-paced jokes and witty cynicism in abundance.
    • 71 Metascore
    • 70 Tim Goodman
    While it’s clear that Vikings isn’t going to be Game of Thrones, it’s a series that increases its entertainment value and interest level as it goes along.
    • 71 Metascore
    • 70 Tim Goodman
    The good news is that most of it is swiftly and creatively entertaining and imaginative--which it deserves more credit for but won’t get because of its obscure heritage and hourlong, sometimes dark approach to comedy. If you’re looking for something different, though, give the end of the world a chance.
    • 71 Metascore
    • 80 Tim Goodman
    Vinyl works best when it laser-focuses on the nature of the very particular communal passions that fuel the industry, often revealed through Richie, Zak and Skip's characters.... Where the series does sometimes get a little sluggish is in the non-music-focused stories.
    • 71 Metascore
    • 80 Tim Goodman
    It takes what's great about the WTF podcast--Maron's smarts, his profound love of and understanding of comedy and the people who perform it--and adds a scripted, fictional element where Sally Kellerman can play his mother and Judd Hirsch can play his father and a bevy of real-life comics and friends can stop by to mingle the two worlds and it all works out marvelously and hilariously.
    • 71 Metascore
    • 80 Tim Goodman
    Suburgatory is an interesting little sitcom in that all on its own the show deserves your attention for the merits [nuance, snark, sweetness] mentioned above.
    • 78 Metascore
    • 100 Tim Goodman
    Making a film is kind of a nightmare, but a riveting one. And Project Greenlight is in itself a riveting documentary. It's got a hero, it's got stars, it's got drama. In 12 parts, we'll find out if there's a happy ending.
    • 71 Metascore
    • 80 Tim Goodman
    Obviously Legit isn't yet in the realm of Louie, one of the best comedies on television, but like Wilfred before it, the show is setting its tone early and hitting that aforementioned sweet spot impressively.
    • tbd Metascore
    • 0 Tim Goodman
    The cheesiest reality show yet. ... It's hysterically bad. Honestly.
    • 70 Metascore
    • 80 Tim Goodman
    It's broad, but funny because it's broad--you get the tone immediately and go with it.
    • 70 Metascore
    • 100 Tim Goodman
    There's a lot to love in Californication, from the blowtorch-keen dialogue of creator and writer Tom Kapinos to the way that Duchovny's ever-so-slightly-fading good looks perfectly encapsulate the character's downturn in Hollywood, to a multitude of standout performances in the ensemble cast.
    • 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.
    • 54 Metascore
    • 25 Tim Goodman
    The trouble with Castle is that it's just so completely fluffy - which is annoying.
    • 70 Metascore
    • 80 Tim Goodman
    Logan, who has written each of the eight episodes, and director J.A. Bayona (who cements the overall look and feel of the series) keep things intriguing and fresh, fearful and entertaining. The characters are so vastly different from one another but mix well.
    • 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).
    • 70 Metascore
    • 90 Tim Goodman
    The entertainment value and suspense of Falling Skies is paced just right. You get the sense that we'll get those answers eventually. And yet, you want to devour the next episode immediately.
    • tbd Metascore
    • 50 Tim Goodman
    At some point, however -- and that point is the first episode in this fourth season -- it all becomes too much, too arch, too ridiculous and trying and forced. Worse, perhaps, is the sense that not enough effort has been put in, not enough of the tightrope-walking brilliance of the first three seasons shines through.
    • 76 Metascore
    • 100 Tim Goodman
    The joy of this series really comes down to two things: lots of action and some babelicious butt-kicking. Not something to be proud of for enjoying it, but true. Pass the chips and ale -- and down in front!
    • 60 Metascore
    • 50 Tim Goodman
    It's a nice gimmick, actually. Too bad the results seem so childishly undeveloped.
    • 63 Metascore
    • 50 Tim Goodman
    The pilot of Miss Guided suffers a bit from being too cute with a device where the actors talk into the camera for narration and expository purposes.
    • 40 Metascore
    • 25 Tim Goodman
    Please say this is entertainment--and nothing more. That might not make it all right, but it would restore a whole lot of faith.

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