For 700 reviews, this critic has graded:
  • 53% higher than the average critic
  • 4% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 2.1 points lower than other critics. (0-100 point scale)

Tim Goodman's Scores

Average review score: 62
Highest review score: 100 Pushing Daisies: Season 2
Lowest review score: 0 Moonlight: Season 1
Score distribution:
700 tv reviews
    • 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.
    • 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.
    • 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.
    • 72 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.
    • 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
    • 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
    • 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
    • 64 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
    • 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.
    • 72 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.
    • 72 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.
    • 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.
    • 44 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.
    • 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.
    • 72 Metascore
    • 88 Tim Goodman
    A very original, extremely well-acted and complexly written drama.
    • 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.
    • 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
    • 60 Tim Goodman
    Outside of Stoll, The Strain struggles to develop its characters in the first few episodes.
    • 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
    • 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
    • 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.
    • 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.
    • 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
    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
    • 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.