For 773 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 2.9 points lower than other critics. (0-100 point scale)

Tim Goodman's Scores

Average review score: 62
Highest review score: 100 Curb Your Enthusiasm: Season 3
Lowest review score: 0 Women's Murder Club: Season 1
Score distribution:
773 tv reviews
    • 54 Metascore
    • 50 Tim Goodman
    It's not compelling at all.
    • 49 Metascore
    • 50 Tim Goodman
    Right now, outside of Anderson struggling to make something from the limited ingredients he's been given, New Orleans itself is the only interesting element.
    • 62 Metascore
    • 50 Tim Goodman
    Though there are plenty of hard-earned (some might say forced) laughs here and Bornheimer is a real find, you can't help but wonder how they'll keep up the pace.
    • 41 Metascore
    • 50 Tim Goodman
    Feels forced.... What "American Dad" really resembles most is the less-funny outtakes from "Family Guy," done in a way that doesn't even pretend to be original. [4 Feb 2005]
    • San Francisco Chronicle
    • 79 Metascore
    • 50 Tim Goodman
    It's not that '24' is desperate for ideas in Season 4. No, it was desperate in Season 2. It's that the humor is more blithely predictable now, less forehead-slapping in its preposterousness. As the adrenaline ramps up, the logic falls down. Again. [7 Jan 2003]
    • San Francisco Chronicle
    • 37 Metascore
    • 50 Tim Goodman
    Can we negotiate for a better premise if we release some hostages?
    • 78 Metascore
    • 50 Tim Goodman
    But this is an epic drama on HBO, correct? So is it Giamatti or Adams himself who will make viewers wish for a swifter and less pedantic version on the History Channel?
    • 57 Metascore
    • 50 Tim Goodman
    "Raines" is one of those shows that are enjoyable time wasters if you don't know what else is available.
    • 37 Metascore
    • 50 Tim Goodman
    In FX's Testees, viewers get a good premise gone sophomorically sideways.
    • 54 Metascore
    • 50 Tim Goodman
    Told mainly from the perspective of the criminal, L&O:CI has a superb cast (Vincent D'Onofrio, Courtney B. Vance, Jamey Sheridan). But you can't get past the fact that you've seen this all before, just assembled differently.
    • 71 Metascore
    • 50 Tim Goodman
    Ultimately, everybody's affable in this series. There are no sharp right angles, no emotional elbows.
    • 41 Metascore
    • 50 Tim Goodman
    It's solid for what it is, despite the worrisome gimmick and sometimes obvious story.
    • 75 Metascore
    • 50 Tim Goodman
    There's nothing inherently wrong with The Good Wife other than it's a legal series with too many close-up shots of knowing glances and "attagirl Alicia" moments of empowerment that you saw coming 20 minutes prior.
    • 75 Metascore
    • 40 Tim Goodman
    Ultimately it’s very purple in its prose, yearning to be film noir, but--lacking the writing or grit to achieve that--playing more like hokey blood porn.
    • 75 Metascore
    • 50 Tim Goodman
    House had enough going against it, but if you strip it of its boldness in favor of rote (and predictable) drama, then you might as well bring in the priest.
    • 36 Metascore
    • 50 Tim Goodman
    Even though In the Motherhood may have universal appeal, overly familiar premises can lead to lameness, so ABC better hope the rest of the episodes play more like the one on Thursday and less like the one a week later.
    • 48 Metascore
    • 50 Tim Goodman
    Although the cases in Raising the Bar are apparently influenced by real-life cases, they tend to be either predictable or predictably unpredictable, however you want to look at it. In combination with the characters, this makes Raising the Bar about an average law series. That's pretty good for TNT, but less than expected from Bochco - fair or not.
    • 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.
    • 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."
    • 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.
    • 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.
    • 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.
    • 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
    • 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
    • 60 Tim Goodman
    Outside of Stoll, The Strain struggles to develop its characters in the first few episodes.
    • 72 Metascore
    • 50 Tim Goodman
    There is something too pat, too telegraphed in "Invasion" to rile up the blood.
    • 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.
    • 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.
    • 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.
    • 70 Metascore
    • 50 Tim Goodman
    It's a rote cop show, but in the last five minutes or so, it hints at something deeper.
    • 44 Metascore
    • 50 Tim Goodman
    There's a little "Everybody Loves Raymond" here, and that's not a bad thing.
    • 50 Metascore
    • 50 Tim Goodman
    "Reunion" has more dishonest heartstring tugs than a John Hughes movie sliced up on AMC and filled with Hallmark ads. And the emotional heavy lifting makes people forget that the actual writing -- in this case, an overdose of voice-over narration -- is sleight, cloying and transparent.
    • 35 Metascore
    • 50 Tim Goodman
    The pilot looks dangerously flawed and seriously underwhelming.
    • 70 Metascore
    • 50 Tim Goodman
    It's traditional sitcom fodder. But what makes The Middle a pleasant surprise is that the series itself is eccentric and funny in unexpected ways, not just the kids.
    • 70 Metascore
    • 50 Tim Goodman
    It's nothing David Lynch hasn't crossed out and done better, but at least it's different. Most viewers won't play the game, but if you're interested, write down every number you see, call phone numbers you notice and pay attention to things that mysteriously change.
    • 69 Metascore
    • 40 Tim Goodman
    While it’s great fun to have Holder back--you could make a TV show out of him just walking and talking and it would be fantastic, because Kinnaman is so compelling--the Seattle street urchins at the core of the murder mystery are almost unbearable to watch. The acting, writing and scenarios for the latter are all mediocre.
    • 69 Metascore
    • 60 Tim Goodman
    Judging from the first of six hours that will air, this might be the perfect series where you can plop on the couch, pop a beer and think, "This is all a little odd."
    • 69 Metascore
    • 40 Tim Goodman
    When all the storytelling is coming to a climax, there's something missing--the same connection that was absent between Mildred and Veda from the start.
    • 67 Metascore
    • 50 Tim Goodman
    Even in the first episode, it's clear that "Desperate Housewives" is a vastly improved series from a year ago. The passing is better; the tone is more focused. It's funnier and more focused. But it's also still "Desperate Housewives," and there's that malodorous whiff of the whole thing being past its sell-by date. [22 Sep 2006]
    • San Francisco Chronicle
    • 69 Metascore
    • 50 Tim Goodman
    Unfortunately, Life Unexpected took all of the schmaltz of "Gilmore Girls" and expanded it several hundred times over, forgetting to insert any of the quirk and only a smidge of the smart banter.
    • 68 Metascore
    • 40 Tim Goodman
    Somewhere around the three-hour mark, all you want to do is have both families line up opposite each other, pull the trigger and fade to black.
    • 68 Metascore
    • 40 Tim Goodman
    Davis is riveting throughout.... Unfortunately, Murder has a number of flaws.
    • 68 Metascore
    • 50 Tim Goodman
    Despite having Berry and a sci-fi idea that, while not super-original, is still intriguing, Extant lays flat for most of the hour, failing to set the hook.
    • 67 Metascore
    • 50 Tim Goodman
    It's an hour that you'll be able to understand and appreciate, even if you love "Sons of Anarchy" more. Sometimes it's fun to take a spin on your old bike, so to speak.
    • 67 Metascore
    • 50 Tim Goodman
    In truth, it's the bountiful hamminess of McShane and the other evildoers that makes Pillars great fun, even if it's never going to be a candidate for "Masterpiece Theatre."
    • 67 Metascore
    • 40 Tim Goodman
    All the early signs were right--this is an exercise in verbal gymnastics and no matter how famous the two leads are, it's difficult to embrace their characters, because they have that air of stagey self-importance, as if the goal was to be viewed from seats in the distance, not welcomed into your living room.
    • 67 Metascore
    • 50 Tim Goodman
    The spy story, wartime bullets and intrigue carry The Company, though the writing and story are unnecessarily obvious.
    • 67 Metascore
    • 50 Tim Goodman
    Copper has the same problems that AMC's Hell on Wheels does, which is that there's an excellent show there somewhere, just not on the screen.
    • 59 Metascore
    • 50 Tim Goodman
    "Watching Ellie" is like trying to solve a puzzle: What, besides a megalomaniacal mess, is this thing all about? ... Whatever happened to just being funny?
    • 66 Metascore
    • 50 Tim Goodman
    Hawaii Five-O is nothing but entertainment. It's eye candy.
    • 66 Metascore
    • 60 Tim Goodman
    It could be that, like a lot of sitcom pilots, Broke Girls is trying too hard. But when the jokes work, they're funny, so there's hope.
    • 58 Metascore
    • 50 Tim Goodman
    It's visually engrossing. Then it goes oddly flat in parts, only to kick-start itself with another clash of tones.
    • 66 Metascore
    • 50 Tim Goodman
    It’s exciting to watch Momoa and Henderson give riveting performances, so it’s not like there’s nothing to recommend here. It’s just that in watching them do it, you wish the story was giving them more fodder and not bogging itself down in side arcs.
    • 66 Metascore
    • 50 Tim Goodman
    For all the effort that was put into making Canterbury complicated, not nearly enough quality control was put into the writing.
    • 66 Metascore
    • 50 Tim Goodman
    The show is a bold idea, and there's hope for the modern-world portions, but it doesn't quite know what it is (or maybe it does, but the audience won't).
    • tbd Metascore
    • 50 Tim Goodman
    There seems to be little here in the way of memorable characters outside of Danson's angry doctor, and even his misanthropic outlook (leavened, of course, by a heart, which is mandatory in formulaic comedy) gets tiring. Still, when he's on, Danson is good.
    • 40 Metascore
    • 50 Tim Goodman
    It never finds a compelling vision while inside those heads to suggest it will be anything more than a good, but not great, hospital drama.
    • 65 Metascore
    • 50 Tim Goodman
    A bloated mess. ... "Carnivale" is a little too full of itself. Believing that it has a fascinating story to tell with all the complex themes you could imagine, the series nevertheless fails the first test of television: Move forward.
    • 57 Metascore
    • 50 Tim Goodman
    The real problem with "Justice" is that the series is very average.
    • 65 Metascore
    • 50 Tim Goodman
    There's an old-school feel to the storytelling (shades of "Columbo") that makes it feel comfortable--perhaps too comfortable, or at least too easy.
    • 65 Metascore
    • 60 Tim Goodman
    You should at the very least check out Bello, who does fine work here.
    • 65 Metascore
    • 50 Tim Goodman
    Preposterous ideas know no bounds on "Prison Break."
    • 65 Metascore
    • 50 Tim Goodman
    It seems the writers got the initial idea in their heads -- Kyra Sedgwick raises hell -- then faltered in stacking the bricks around her. The accent is distracting, though the writers must have chosen Atlanta for a reason. The sweet tooth is gimmicky. And the fact she doesn't exactly close the trunk with force in the pilot is of some concern.
    • 65 Metascore
    • 50 Tim Goodman
    What Animals is trying to do is take The West Wing and turn it into Dallas. And if you don't like Dallas, that can be a real letdown.
    • 64 Metascore
    • 60 Tim Goodman
    The existential aspects of Derek are its best traits (and yes, there will be a second season). The drama and comedy elements are more of a mixed bag.
    • 64 Metascore
    • 60 Tim Goodman
    There is a lot of potential in this series. It's just a shame that it appears to be veering away from something completely different--something darker and more sci-fi and ambitious, and settling into the feel-good, be-safe vibes of both Jurassic Park and Avatar.
    • 64 Metascore
    • 60 Tim Goodman
    The pilot is clever in a number of places and the banter is quick.... Like Modern Family, which it seems to be aping, The Michael J. Fox show is big on hugs and syrup in the end notes, but that can be overlooked if what precedes it has enough right angles. Unfortunately, the second episode--which airs directly after the pilot tonight--is a complete and utter mess.
    • 64 Metascore
    • 60 Tim Goodman
    The pilot is solid but 22 minutes with this kind of cast and concept barely leaves any room to decipher whether or not you want to spend one night a week with these people.
    • 63 Metascore
    • 50 Tim Goodman
    It's light but predictable fun.
    • 63 Metascore
    • 60 Tim Goodman
    Lilyhammer is an odd little series with potential.
    • 63 Metascore
    • 50 Tim Goodman
    Most of the other characters on Benched remain unformed, so early offerings seem middling and temper that hope--but hey, maybe you have better batteries.
    • 63 Metascore
    • 50 Tim Goodman
    There's a nagging suspicion that Hell on Wheels, created by Tony and Joe Gayton, doesn't quite know what it wants to be, which may explain why after four hours it seems like a collection of ideas that haven't quite gelled.
    • 63 Metascore
    • 50 Tim Goodman
    While the cop genre is all but played out, Detroit 1-8-7 is stylish and acceptably rough-hewn enough to make it worth your while.
    • 62 Metascore
    • 40 Tim Goodman
    What anchored Broadchurch was its harrowing sense of loss, how it played out with the parents and changed the small coastal town where a number of people had come to start new lives. Much of that is either missing or lost in translation.
    • 62 Metascore
    • 40 Tim Goodman
    It's hard to tell whether Murphy and Falchuk are real fans of the horror genre or just set out to create something so creepy and freaky and off-the-charts weird that it would create massive buzz.
    • 62 Metascore
    • 50 Tim Goodman
    There's not much payoff to the premise. Which is a real shame, because there's a good show here somewhere
    • 62 Metascore
    • 50 Tim Goodman
    The series still can't get liftoff because it seems like a limp copy.
    • 62 Metascore
    • 50 Tim Goodman
    Perhaps the worst offense by 666 is that it's not even an ounce scary.
    • 62 Metascore
    • 50 Tim Goodman
    If you can’t love the rake in Keegan, then you sure can’t love the lawyer in him either (since it’s barely developed in the pilot). That leaves Rake as an overly familiar character study and an under-developed law procedural.
    • 62 Metascore
    • 50 Tim Goodman
    Californication in Season 2 seems like its indulging a certain person's condition rather than illuminating the human condition, if you know what I mean - and I think you do.
    • 62 Metascore
    • 50 Tim Goodman
    How about less ghost, more Margo? That might help A Gifted Man become better than very average.
    • 62 Metascore
    • 50 Tim Goodman
    Ultimately, there's nothing new about the bones of Grey's Anatomy. Somebody needs to reinvent the hospital drama, stat.
    • 61 Metascore
    • 50 Tim Goodman
    True Detective is trying so hard here it hurts. ... Pizzolatto has inexplicably made every character in this season spout clipped and elliptical phrases. They begin to pile up so quickly that you soon realize there’s no flow to the characters, no realism to them.
    • 61 Metascore
    • 50 Tim Goodman
    Bad, then decent, then confusing. That's not exactly the trajectory you're looking for in a pilot.
    • 61 Metascore
    • 50 Tim Goodman
    Though Berlanti doesn't always get the balance right and there's no telling whether people will glom onto Eli the way they did Ally, having seen three episodes and been entertained through most of them is saying something, at least.
    • 61 Metascore
    • 50 Tim Goodman
    This is a series that throws so much lunacy into the plotlines that even the writers on "Dynasty" must be hissing.
    • 61 Metascore
    • 50 Tim Goodman
    His monologue was staccato and hit and miss--sounding more like his "Weekend Update" bits than a real monologue. And his first attempt at a recurring bit, "Venn Diagrams," was overly clinical and less than funny, despite some good material.... The back-to-back segments of Poehler and Biden offered an early hint that Meyers really can do interviews and that worries over that element of his arsenal are exaggerated.
    • 61 Metascore
    • 40 Tim Goodman
    Murphy and Adler opt for the caustic in a series that probably had its best chance of success playing it more subtle and more sentimental, tossing in the barbs judiciously.
    • 61 Metascore
    • 50 Tim Goodman
    Unfortunately, The Goode Family isn't distinct enough or, ultimately, funny enough in the few episodes ABC screened to really worry about a future.
    • 61 Metascore
    • 50 Tim Goodman
    Turn should be a lot more exciting than it is. It may eventually get there--but a lot of AMC’s series not named Mad Men, Breaking Bad or The Walking Dead never got there. And that’s an ongoing problem.
    • 61 Metascore
    • 50 Tim Goodman
    The problem is the lovely-to-look-at pilot, which unfortunately has a heavy dose of saccharine and corn mixed in. There's a voice-over that makes you think you're about to watch some heartwarming Christmas special, and there's dialogue that strains so much to be moving that it falls flat and stiff.
    • 60 Metascore
    • 50 Tim Goodman
    Some of it works, much of it doesn't.
    • 60 Metascore
    • 50 Tim Goodman
    This is a paint-by-numbers legal series that's as predictable as they come.
    • 60 Metascore
    • 50 Tim Goodman
    A faux documentary on actors who are not famous but who are struggling to be isn't inherently interesting to nonactors. ... 'Unscripted' isn't a complete flop. It's just rare that HBO fails like this. [9 Jan 2005]
    • San Francisco Chronicle
    • 60 Metascore
    • 50 Tim Goodman
    At some point, your head will explode.
    • 60 Metascore
    • 50 Tim Goodman
    The hour goes by fairly quickly, but it's neither overtly scary nor overtly funny, and mixing those tones is very hard indeed.
    • 47 Metascore
    • 50 Tim Goodman
    There's no doubt that "Related" will speak to some women. It will make other women break out in itchy, insanity-inducing hives.
    • 60 Metascore
    • 60 Tim Goodman
    Looking long term, Resurrection may be one typical TV dark secret that takes a while to unravel, and maybe that's good enough for most. But it's cutting enough corners here in the beginning to be worrisome. And if you were lucky enough to see The Returned (or will be streaming it asap), then Resurrection won't be for you.
    • 59 Metascore
    • 40 Tim Goodman
    There are just too many short cuts or obvious turns as American Odyssey tries to deepen its machinations. If you can see the hands on the puppet strings, the whole thing ends up a lot less compelling than you imagined.
    • 59 Metascore
    • 50 Tim Goodman
    Applegate is charming, adorable and funny. But she's going to need that plus a car battery or a purposeful dip in the bathtub with a hair dryer to get much spark into this series.
    • 59 Metascore
    • 50 Tim Goodman
    It could spark discussion or debate. But it's mostly just a reality series. And that means manufactured scenarios, big drama, tears, tattoos, drinking, sex, swearing and lots of arguing and playing to the camera. Straight people have been making fools of themselves on TV like this for ages.
    • 59 Metascore
    • 50 Tim Goodman
    There’s not much that’s particularly fresh in Mr. Selfridge beyond the premise, and whether that deserves eight parts is up to you.
    • 59 Metascore
    • 40 Tim Goodman
    It's hard to feel compassion for them because they knew the risks. If you don't worry what happens to your main character--the fictional Bill Henrickson or the real Kody Brown--there's an absolute absence of drama.
    • 59 Metascore
    • 50 Tim Goodman
    And yet, after watching the first two episodes, it's a shame that Legends (and TNT) weren't a bit more ambitious with the show. The pilot is splashy and action-packed, but overall the lack of complexity--and yes, I know I cited that as a plus earlier--makes it less satisfying.
    • 59 Metascore
    • 40 Tim Goodman
    The downside to Ringer is that unless you're weaned on The CW's fare, it really doesn't have a lot of weight, and Gellar seems stretched a bit thin playing dual roles.
    • 58 Metascore
    • 40 Tim Goodman
    The trouble is, cringe-worthy comedy is so overdone at this point that even people like Merchant, who can milk it like almost no one else, can’t make it entertaining anymore. Mostly, it’s just painful to endure.
    • 58 Metascore
    • 50 Tim Goodman
    What NCIS: Los Angeles does well is what all CBS procedurals do well--bring mostly believable, semi-pulse-pounding justice to bad guys by the end of the hour with some action, a dose of humor and the weekly, methodical unpeeling of each character's private onion skin.
    • 50 Metascore
    • 50 Tim Goodman
    The trouble with Welcome to the Captain, outside of the title and romantic emphasis, is that two episodes haven't revealed any clear direction.
    • 58 Metascore
    • 50 Tim Goodman
    The pilot is not especially funny. But it has potential.
    • 58 Metascore
    • 40 Tim Goodman
    The Finder is as agreeable as a contract on onion paper that says you, the viewer, will not question implausible moments or snicker when is limp and the acting staged.
    • 28 Metascore
    • 50 Tim Goodman
    You might not remember to record it every week, but if you stumble upon it, you might stay.
    • 57 Metascore
    • 40 Tim Goodman
    Power is a paint-by-numbers effort when Starz could really do itself a favor by putting a masterpiece in the market.
    • 57 Metascore
    • 40 Tim Goodman
    It's a new kind of plodding--so slow, you are almost begging her to stay retired so you don't have to witness her gifts in action again.
    • 57 Metascore
    • 60 Tim Goodman
    Allegiance is a broadcast network series that doesn't have the writing or the acting chops to compete with its FX counterpart. The series is, however, entertaining on its own merits.
    • 57 Metascore
    • 50 Tim Goodman
    Joss Whedon is one of television's most talented visionaries, but his latest series--the highly anticipated midseason drama Dollhouse--is a major disappointment.
    • 57 Metascore
    • 60 Tim Goodman
    All of the obvious self-awareness jokes are glaring and irritating. But here’s the hope: Both Cho and Gillan are very likable actors and even manage to nail what is asked of them in the pilot, playing Eliza and Henry.
    • 57 Metascore
    • 50 Tim Goodman
    Ryan seems too inert, not nearly aggressive enough for the role.
    • 56 Metascore
    • 40 Tim Goodman
    Maybe there’s an audience for this kind of thing--even though that audience would be better served watching Almost Human on Fox.
    • 56 Metascore
    • 50 Tim Goodman
    The Whole Truth, which airs opposite "The Defenders" on ABC, is less lousy.
    • 56 Metascore
    • 40 Tim Goodman
    Much of the history is spoken, not seen, and though Campbell does the best he can with his role, the docudrama seems thin and disconnected--as if the scripted, acted parts are merely in service of Hanks’ narration.
    • 56 Metascore
    • 60 Tim Goodman
    Body of Proof doesn't break any new ground as a procedural and has more than enough hokey moments to make you look elsewhere. But as a case study of how and why star vehicles get made, this is textbook.
    • 56 Metascore
    • 50 Tim Goodman
    Ascension has tons of potential and meets a little more than half of it in this early going.
    • 56 Metascore
    • 40 Tim Goodman
    For a moment, it feels like a big screen action flick. Then the plot unfolds and it’s back to Familiarville.
    • 56 Metascore
    • 50 Tim Goodman
    In Plain Sight, in addition to some of the worst character names you'll ever see, has deeper problems in the writing.
    • 55 Metascore
    • 50 Tim Goodman
    "The Dresden Files" is currently mediocre, a series searching for the right tone, seemingly unsure of itself and all the while not quite selling itself to the non sci-fi crowd.
    • 55 Metascore
    • 40 Tim Goodman
    There are few likable characters here, the centerpiece M&M meetings should be what sets the series apart but is actually bogging it down into nonsense.
    • 55 Metascore
    • 50 Tim Goodman
    If you're a fan of "Family Guy," this is an easy sell....The guess here is that if you don't know anything about "Family Guy," you'll be watching another network anyway.
    • 55 Metascore
    • 50 Tim Goodman
    There’s nothing overtly bad about the first two episodes of Dracula but neither was there anything compelling.
    • 54 Metascore
    • 50 Tim Goodman
    Forever is an easy hour because Gruffudd (Horatio Hornblower) is a fine, quite likeable actor, and the mystery-of-the-week procedural continues to be candy for views.
    • 54 Metascore
    • 60 Tim Goodman
    Part of the hedging about Mr. Sunshine stems from her role. In the pilot, it's a wildly over-the-top portrayal that's simultaneously fun to witness but worrisome as to whether Janney can pull it off every week.
    • 54 Metascore
    • 60 Tim Goodman
    The pilot is strong and closes with a cliffhanger element that should bring back a sizeable chunk of the tune-in audience.... but having no other episodes to find out in what direction the series wants to go--not just with Barry/Bassam, but where the core of its stories will come from (family or politics), means it’s too early to give a definitive endorsement to Tyrant, despite its potential.
    • 54 Metascore
    • 50 Tim Goodman
    Not nearly as ambitious as "Life on Mars" but entertaining nonetheless.
    • 54 Metascore
    • 50 Tim Goodman
    When Bob's Burgers gets rolling and hints at the smarts that made Home Movies and Dr. Katz so good, it only makes you long for a distancing on the inane, easy-joke riffs that try to be "edgy."
    • 54 Metascore
    • 60 Tim Goodman
    It's a testament to Hirsch, who keeps Bonnie and Clyde grounded--plus a solid script, for the most part--that allows this movie to defy the odds. That doesn't make it great or even necessary, but wow, it could have been a lot worse.
    • 54 Metascore
    • 50 Tim Goodman
    Simmons does his usual solid work in this role, and he's got all the physical comedy in the playing blind (and faking sight) bits. Elfman makes another solid statement that she should be in something much better (this coming off her fine work in 1600 Penn; she hasn't lost any comedy chops). Together they're just undermined by, well, syrup.
    • 53 Metascore
    • 50 Tim Goodman
    By no means is "Just Legal" a top-notch drama as yet, but it certainly has potential to be agreeable lighter fare.
    • 53 Metascore
    • 50 Tim Goodman
    The pilot is very spotty.
    • 53 Metascore
    • 50 Tim Goodman
    The main action is pretty much standard soap fare.
    • 53 Metascore
    • 50 Tim Goodman
    "Huff" got too heavy, and too predictable in its moroseness. Lying on the couch for more seems unnecessarily depressing.
    • 52 Metascore
    • 50 Tim Goodman
    Despite some funny moments and undercurrents of real potential, Greetings From Tucson has nothing special going for it other than being part of an emerging trend. For it to survive, the writing will have to be snappier and the situations more original.
    • 52 Metascore
    • 50 Tim Goodman
    It allows McKidd to shine as Mr. Fix-It, even though he never wanted the task. Some of the subtext needs more episodes to provide breathing room.
    • 50 Metascore
    • 60 Tim Goodman
    There’s enough hardened acting chops to make Chicago PD a watchable distraction in the Dick Wolf mode. Will it end up being something consistently good? It probably depends on your definition of good.
    • 49 Metascore
    • 50 Tim Goodman
    If you loathe Palin, well, Sarah Palin's Alaska will not change that. If you love Palin, there's probably plenty here to solidify your beliefs.
    • 49 Metascore
    • 50 Tim Goodman
    Swingtown was created to portray a broad but nuanced picture of '70s suburban America, but it might be too ambitious.
    • 49 Metascore
    • 50 Tim Goodman
    A slightly older version of "Charmed"? Um, yes. Into all of this potential mediocrity (fully realized, by the way), comes the masterstroke of casting the phenomenal Paul Gross as the devil.
    • 49 Metascore
    • 40 Tim Goodman
    There’s such a great cast on Happyish that if the writing gave them a little less so that they could do a little more, things might have worked out much better.
    • 48 Metascore
    • 50 Tim Goodman
    While the reworked pilot is a marked improvement over the original, the parts are still not working together, but you'd like to believe they will be in a few episodes.
    • 48 Metascore
    • 40 Tim Goodman
    A lot of the success of Whitney may hinge on whether people find her likeable or not. But there are fundamental issues holding back the show as well--beyond the multi-camera fakeness of it all.
    • 48 Metascore
    • 50 Tim Goodman
    Like a lot of pilots, Animal Practice is messy, and if you don't like the monkey, well, you're probably not coming back.
    • 48 Metascore
    • 40 Tim Goodman
    The odds are better that viewers will see Red Widow as a formula series trying desperately not to be a formula series. In the process, it's not very exciting. Or compelling.
    • 48 Metascore
    • 50 Tim Goodman
    A very good idea but executed in the pilot with too much sap and manipulation.
    • 48 Metascore
    • 60 Tim Goodman
    As a B-level entry it’s at least entertaining, and if some of the sillier aspects of the pilot can be improved on could be one of those mindless entertainment options we all need now and again.
    • 48 Metascore
    • 50 Tim Goodman
    Creatively, it’s just a middling mess--something so average that a basic cable channel could have duplicated it without all the foreign travel for about $84 million less.
    • 48 Metascore
    • 50 Tim Goodman
    It's not a gratuitous failure and makes enough sense to see to the end.
    • 48 Metascore
    • 50 Tim Goodman
    Actually, "Emily's Reasons Why Not" does have its funny moments. The problem is twofold. The show tweaks and contorts itself so hard to get those laughs that the whole thing feels forced and unmanageable for two consecutive episodes, much less a season. And secondly, the premise is unlikely to hold up for any length of time.
    • 48 Metascore
    • 50 Tim Goodman
    How to Live With Your Parents is a fish-out-of-water story, naturally, and thus seems all-too-familiar. But the show is spiked with enough talent (hard to go too wrong with Chalke, Perkins and Garrett) that it could conceivably find an audience.
    • 47 Metascore
    • 50 Tim Goodman
    Not nearly as good or as complex as "Justified" on FX, but it's a decent hour of mindless entertainment.
    • 47 Metascore
    • 50 Tim Goodman
    There are funny moments here, mostly coming from Mohr's agitated rantings. But the laugh track is mighty intrusive, which detracts from the average jokes by throwing them in your face (or down your ear, as it were).
    • 46 Metascore
    • 40 Tim Goodman
    O’Malley and Chavira and McCormack elevated the material they were given. And they were good. At the same time, there wasn’t enough else in Welcome to the Family to make me want to watch any more of it.
    • 46 Metascore
    • 40 Tim Goodman
    When the series works it's when Long and Hornsby invest their characters with counter-intuitive hope and positivity.
    • 45 Metascore
    • 40 Tim Goodman
    The whole thing quickly becomes hokey and a grind. Blame goes consistently to the writing.
    • 45 Metascore
    • 50 Tim Goodman
    The Prisoner is not compelling. It rambles too much. Its vagaries are not interesting, its unorthodox storytelling not special enough.
    • 44 Metascore
    • 60 Tim Goodman
    Mind Games is less complicated than Killen's other shows--which raises its chances until you factor in the dreadful time slot it will inhabit. Yet even though Zahn is a lot to take while having his bi-polar rants and motor-mouthed moments of anxiety, plus Slater's dubious end-of-the-pilot twist, there are elements in play with Mind Games that make it intriguing.
    • 44 Metascore
    • 60 Tim Goodman
    Anger Management is really just a slightly more content-dangerous network sitcom.
    • 44 Metascore
    • 40 Tim Goodman
    Not only do [Kyle Bornheimer and Christine Woods] try heroically to make something out of nothing, but they also have a realness you'd actually want to watch--something that is buried by the other two couples spouting unfunny dialogue and flailing desperately to find identity in their characters.
    • 43 Metascore
    • 40 Tim Goodman
    If you're looking for some sentimental lesson-learning, the wafer-light Hart of Dixie may fill an hour for you.
    • 42 Metascore
    • 50 Tim Goodman
    The problem with "Criminal Minds" -- other than there are 48 series in a similar vein, 39 of them on CBS -- is that every person in this cast has an area of expertise, and they spend the hour telling you about it in the most unrealistic workplace conversations you'll ever hear.
    • 42 Metascore
    • 50 Tim Goodman
    It all begins to feel like forced gobbledygook--like "Without A Trace" had a bad date with "Ghost Whisperer."
    • 42 Metascore
    • 40 Tim Goodman
    In Fox's new series, The Mob Doctor, trying to reinvent the wheel has led to a truly flat idea.
    • 42 Metascore
    • 50 Tim Goodman
    22 minutes is not enough to say. (Networks really need to be more generous with episodes, especially during midseason.) If the pilot (written by Perry and co-executive producer Joe Keenan) is passable, my guess would be that the pedigree and talent involved will overcome the shortcomings and give viewers something better soon enough.
    • 42 Metascore
    • 50 Tim Goodman
    It's beige on beige, people.
    • 40 Metascore
    • 50 Tim Goodman
    Despite the well-drawn characters, there's a forced hokiness to the entire affair, and the laugh track is an unkind addition.
    • 39 Metascore
    • 50 Tim Goodman
    There's much to recommend in "Thank God You're Here!," but the show could be vastly improved by giving viewers at home a little more credit.
    • 36 Metascore
    • 40 Tim Goodman
    The point is, a bunch of good actors are stuck in a sitcom that has limited appeal.
    • 33 Metascore
    • 40 Tim Goodman
    As bad as Last Man Standing is, it would be a trillion times worse without Allen's veteran presence and ability to sell comedy in that set-up/punch-line kind of way.
    • 29 Metascore
    • 50 Tim Goodman
    Sometimes the suburban jokes work -- every little girl seems to be named Caitlin -- but Hidden Hills is mostly still foraging for the hidden jokes that will make it more original.
    • tbd Metascore
    • 50 Tim Goodman
    The problem with Do Over is that the series hasn't exactly found any great ideas to run with. Instead, we get the same familiar topics you could probably come up with in five minutes yourself while ironing.
    • tbd Metascore
    • 50 Tim Goodman
    Despite a wonderful cast (Dana Delany, Martin Donovan, Balthazar Getty, Natasha Gregson Wagner), Pasadena just sits there, as boring and smoggy as the city it's named after. Producers say they'll ratchet up everything in the second episode, but they always say that.

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