For 937 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 Arrested Development: Season 2
Lowest review score: 0 Emily Owens, M.D.: Season 1
Score distribution:
937 tv reviews
    • 53 Metascore
    • 38 Tim Goodman
    One of those series that looks great on paper but ends up less-than-thrilling on the screen.
    • 48 Metascore
    • 38 Tim Goodman
    The first episode is moody and violent but not particularly frightening. The second is psychobabble nonsense without much suspense.
    • 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.
    • 40 Metascore
    • 38 Tim Goodman
    The whole series just misses its mark -- despite that mark being one of the fattest, ripest targets imaginable.
    • 67 Metascore
    • 38 Tim Goodman
    To its credit, next week's second episode is better than tonight's revamped pilot: tighter, funnier and more expansive to other cast members.
    • 62 Metascore
    • 30 Tim Goodman
    Here it is, back for an eighth season of eight episodes, and the only reason to return to it is the culmination of storylines. Meaning, to come back to find out what happens to Vince and the boys (and their various girls). And that's really the problem.
    • 40 Metascore
    • 30 Tim Goodman
    With no other likable characters and a thin premise, Allen Gregory seems as one-dimensional as the animation.
    • 60 Metascore
    • 30 Tim Goodman
    The first new episode of season two--which takes place just a day after the first season's actions--seemed exponentially long, which was not a good sign. Getting through a second one was also a chore but had enough ridiculous signs of where Bloodline was going this time to be enough evidence to bail right then and there.
    • 57 Metascore
    • 30 Tim Goodman
    The writing feels (and sounds) like it wants to mimic the era without showing an ounce of believability, even though several fine actors do their best with the material. The overall effect is superficial rather than immersive, and there's rarely a moment in The Last Tycoon when you're not hyper aware that you're watching actors act like they're in a period piece, spouting dialogue that sounds like it's rehashing conversations from past movies.
    • 60 Metascore
    • 30 Tim Goodman
    Both the writing and the directing fall short in One Child, leaving good actors to work with material that’s mostly not there and viewers reminded of the fact that good intentions are not always enough.
    • 47 Metascore
    • 30 Tim Goodman
    Working is filled with bad jokes you can see coming from a country mile.
    • 68 Metascore
    • 30 Tim Goodman
    It has neither the exactitude of the times nor the talent of the writers to get at the issues, ala Mad Men, that illuminate the issues of the day.
    • 43 Metascore
    • 30 Tim Goodman
    The Player is basically absurd with a dollop of stupid on top and a whole bunch of empty tossed in for filler. Yes, empty can be filler.
    • 63 Metascore
    • 30 Tim Goodman
    Crisis comes out of the chute as flat as any recent thriller on network television--actually more so. There’s barely an ounce of believability in it. The casting seems woeful and the acting isn’t going to get you to the second hour.
    • 47 Metascore
    • 30 Tim Goodman
    There’s something plodding and portentous about Rogue, as if it were trying especially hard to be taken seriously, to have the ballast needed to compete with other serious cable dramas.
    • 52 Metascore
    • 30 Tim Goodman
    The Married pilot is forced, mostly unfunny and tragic in that you immediately want to root for Faxon and Greer, two very funny and very likable comic actors, to have better material.
    • 65 Metascore
    • 30 Tim Goodman
    It should be noted that Geere and Cash are very, very good--they just need better material. (Unfortunately, the rest of the cast, even though they don't get much work, grind the show to a halt--an almost insurmountable problem except that Worst's penchant for trying to shock with crassness is really the stumbling block here).
    • 50 Metascore
    • 30 Tim Goodman
    As much as I don't like it, I pretty much love the whole cast.
    • 59 Metascore
    • 30 Tim Goodman
    It's a laborious, cliched bit of retread television.
    • 47 Metascore
    • 30 Tim Goodman
    The pilot is a messy clunker that will test the patience of Crowe's core fans; the second, written by Winnie Holzman, one of the executive producers along with J.J. Abrams, Bryan Burk and Len Goldstein, is a more assured and coherent effort that still falls short of digging out of the hole created by the pilot; and the third episode is sadly terrible, the kind of hour filled with bad decisions and triteness that offers little hope for a creative recovery going forward.
    • 52 Metascore
    • 30 Tim Goodman
    There appears to be nary an original plot device or line of dialogue in the Chicago Med pilot which is both alarming and impressive.
    • 35 Metascore
    • 30 Tim Goodman
    The show is so wrapped up in moving the needle of apparently outrageous behavior that it never does anything but repeat itself.
    • 46 Metascore
    • 30 Tim Goodman
    Animating [the movie] doesn't actually make it better (or even funny), even if you bring back the original cast to do the voice work.
    • 52 Metascore
    • 30 Tim Goodman
    The point is, everything seems off about Houdini & Doyle, including the casting and pairing of Michael Weston (House) as Houdini and Stephen Mangan (Episodes) as Doyle. There's not much chemistry between the two.
    • 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.
    • 40 Metascore
    • 30 Tim Goodman
    Centering one of Lilley's most annoying characters in a series to ramble on incessantly robs the character of its past effectiveness and makes her--and the series--almost unbearable to watch.
    • 51 Metascore
    • 30 Tim Goodman
    Backstrom is pretty bad on a number of levels and can't ultimately be forgiven for wasting Dennis Haysbert.
    • 50 Metascore
    • 30 Tim Goodman
    It has a stupid title and a stupid premise and, among its many transgressions against watchable entertainment, it really doesn’t make much sense (you know, on top of the acting and the writing and whatnot).
    • 44 Metascore
    • 30 Tim Goodman
    All this Ironside does is talk tough and spout exposition endlessly. Yak, yak, yak. There's more talking and less action in Ironside than there is in The Newsroom. Oh, and when there is action, it's just ridiculous.
    • 45 Metascore
    • 30 Tim Goodman
    Of course every character is a cardboard cutout of a human being. The job of the show is to solve difficult problems in an easily understood way for the masses who are otherwise cooking dinner or checking their email. Complexity and shades of gray just get in the way. It's hard for the fellas to take care of business if you muck up the lines between good and bad.

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