For 938 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 Flight of the Conchords: Season 2
Lowest review score: 0 Mixology: Season 1
Score distribution:
938 tv reviews
    • 53 Metascore
    • 75 Tim Goodman
    Like "Sex and the City" - oh, no, not that comparison - the half hour flies by and you realize that the human relationships depicted here are interesting and worth mining and Belle's life choices are entertaining.
    • 64 Metascore
    • 75 Tim Goodman
    "Love Monkey" manages in one hour to be both funny and endearing, a more option-rich version of "Ed."
    • 64 Metascore
    • 100 Tim Goodman
    It's not very often that a TV show bursting with imagination, audacity, rude charm and a relentlessly funny worldview gets on the air, much less appears fully formed. But Sarah Silverman... has delivered an offbeat gem.
    • 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
    • 25 Tim Goodman
    Just dreadful enough to want to shoot yourself and end up in the tender loving arms of the people at "Private Practice."
    • 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.
    • 64 Metascore
    • 80 Tim Goodman
    With Life's Too Short, he [Ricky Gervais] again delivers.
    • 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.
    • 64 Metascore
    • 80 Tim Goodman
    It’s fun, it’s entertaining, it’s got some scares and some action and plenty of secrets to unveil.
    • 64 Metascore
    • 70 Tim Goodman
    Ramsay naturally creates drama wherever he goes, and despite a few forced scenarios, the fly-on-the-wall editing smoothly and engagingly creates narratives amid the chaos.
    • 64 Metascore
    • 30 Tim Goodman
    Whenever Making History strings together a little momentum (as in the second episode, where it tries to appropriate the absurdist tones of Monty Python), the gains are offset minutes later by more and more dumb jokes.
    • 64 Metascore
    • 75 Tim Goodman
    Dinklage is particularly good here and the whole idea of trying to hide from the public the fact we've been invaded is intriguing fare.
    • 64 Metascore
    • 80 Tim Goodman
    None of SMILF would work beyond the struggling single-mom trope if it weren't for Shaw truly announcing herself here as a creative force. ... Showtime looks to have found something special with SMILF.
    • 64 Metascore
    • 88 Tim Goodman
    A winning, extremely funny new sitcom.
    • 64 Metascore
    • 70 Tim Goodman
    Does that make sense? If not, well, Revolution doesn't make a lot of sense, but it's a lot of fun.
    • 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.
    • 64 Metascore
    • 70 Tim Goodman
    Despite some jitters, Conan looked comfortable in his new domain. He had nervous energy to spare, but then again he does most nights.
    • 64 Metascore
    • 80 Tim Goodman
    It’s a pretty great first hour and if they can keep up the suspense before changing direction, it might be a feat worth watching every week.
    • 64 Metascore
    • 25 Tim Goodman
    It's as rote and unfunny and ridiculous as hundreds of other ambitionless sitcoms to hit the air.
    • 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.
    • 64 Metascore
    • 25 Tim Goodman
    LOLA begins so flat, boring and predictable that you have to grudgingly admire Wolf's steadfast commitment to the holiness of the brand, at the expense of any creativity, originality or shock value.
    • 64 Metascore
    • 70 Tim Goodman
    There are a lot of series mining this style so it's not like Savage has done anything wrong by jumping into the fray, but I'm Sorry will need to find its own unique variation soon enough. But early on the show feels like it's already in rhythm, which is a nice surprise.
    • 63 Metascore
    • 70 Tim Goodman
    Viewers should try to connect with Touch. There's something intriguing about it.
    • 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
    • 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.
    • 39 Metascore
    • 25 Tim Goodman
    You won't really want to spend another hour with these people.
    • 63 Metascore
    • 75 Tim Goodman
    Imagine a lesbian "Friends," only smarter and better-looking.
    • 63 Metascore
    • 80 Tim Goodman
    House of Lies is giving him (and the rest of the actors) something fresh and different to devour, which makes it a show you need to consult with.
    • 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.
    • 34 Metascore
    • 25 Tim Goodman
    It's a hackfest of cliches and obvious, unfunny jokes about kids and neighbors and marriage, with multiple cameras, a smothering laugh track, precocious kids and a salty but loving wife.
    • 63 Metascore
    • 30 Tim Goodman
    Marry Me starts off annoying and unlikable and rarely dips from that, even though fans of Happy Endings will no doubt tune in for star Casey Wilson and for that show's creator, David Caspe, who also created this one.
    • 63 Metascore
    • 70 Tim Goodman
    Some eye-rolly writing drags down even the best parts of The Defenders, which is partly the fault of the writers of course but also partly due to the wholly weak comic DNA, where obvious shows of emotion and declarative sentences dipped in gooey cheese are part of the deal. And yet, despite all of that, The Defenders morphs into a likeable and enjoyable collaboration by the third episode.
    • 63 Metascore
    • 25 Tim Goodman
    To call Firefly a vast disappointment is an understatement. Whedon has proven he's capable of brilliance, but this is mere folly.
    • 63 Metascore
    • 70 Tim Goodman
    When the jokes are hit and miss, McGinley and Scovel can easily salvage them. While the chemistry between Astin and Heelan isn't really palpable, both characters grow on you after a couple of episodes and everybody else in the cast also manages to elevate the material whenever it falters.
    • 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.
    • 63 Metascore
    • 25 Tim Goodman
    New Amsterdam is very average--and in many aspects is well below average. It never feels like much more than a cliche.
    • 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
    • 60 Tim Goodman
    It’s not exactly groundbreaking for television, which has done these kinds of unscripted explorations for years, but it’s a nice little add-on if you’re already a Prime subscriber and someone who readily views Amazon’s TV offerings.... When the series moves outside to bring to life in HD the many stories readers have become familiar with through the years, the results are more mixed.
    • 63 Metascore
    • 80 Tim Goodman
    It could be argued that Fox has pulled off something even more remarkable with the debut of the less-than-thrillingly titled Traffic Light, a romantic comedy whose concept was imported from Israel: because it is both funny and remarkably realistic.
    • 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.
    • 63 Metascore
    • 10 Tim Goodman
    Dallas is terrible....The writing is brutal and obvious, the acting is comical, and none of it is bettered by the directing.
    • 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.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 40 Tim Goodman
    Grandfathered, on the other hand, feels as slick, predictable and manipulative as possible, dropping lots of punchlines about its premise.
    • 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
    • 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
    • 25 Tim Goodman
    There are a lot of fat jokes in Mike & Molly. Unfortunately, all of them are easy, most of them are stupid and worse than anything is that they are spewed in what is being spun as a sympathetic look at people with eating problems.
    • 62 Metascore
    • 70 Tim Goodman
    The first two episodes of Dirk Gently will be an easy litmus test for fans of this kind of show, because it's all over the map (intentionally) and veers wildly in tone.
    • 62 Metascore
    • 40 Tim Goodman
    Telenovela never fails to break a sweat in its attempt to create something interesting or funny, but all that effort falls wincingly short of its goal.
    • 62 Metascore
    • 50 Tim Goodman
    The series still can't get liftoff because it seems like a limp copy.
    • 89 Metascore
    • 100 Tim Goodman
    Having seen the first four episodes, you need to be a part of this. You need to doff the skepticism and get on the ride.
    • 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.
    • 62 Metascore
    • 50 Tim Goodman
    Perhaps the worst offense by 666 is that it's not even an ounce scary.
    • 62 Metascore
    • 75 Tim Goodman
    What NBC has managed to do with The Office is make something true to the original while expanding on the vision and completely avoiding the dour stupidity of the current American sitcom. That, in case you haven't figured it out yet, is nearly miraculous.
    • 62 Metascore
    • 75 Tim Goodman
    Media Rights Capital, an independent production company, took an offbeat idea and made it work surprisingly well.
    • 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
    • 80 Tim Goodman
    Luckily, nobody overdoes the modernity angle in their acting and so Almost Human feels grounded -- dark, dirty and lived-in, almost like Blade Runner.
    • 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.
    • 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
    • 70 Tim Goodman
    There’s a lot of material to mine here and Goyer, Starz and Da Vinci’s Demons are off to an entertaining start.
    • 62 Metascore
    • 30 Tim Goodman
    Everything about The Slap feels manipulated — you can smell the smoke off the puppet strings as the characters are jerked into being jerks. And that's just the pilot. The anvil drops more often and with more velocity in the second episode.
    • 62 Metascore
    • 80 Tim Goodman
    Directed with aplomb by Mat Whitecross, who periodically decides, in the course of this four-hour feast, to stop making a movie about a man and instead make a Bond movie, Fleming is the kind of movie that winks at you constantly and you never get annoyed by the intimations.
    • 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
    • 20 Tim Goodman
    No matter how you slice it, you won't find a quality cable series hiding inside.
    • 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
    Ultimately, there's nothing new about the bones of Grey's Anatomy. Somebody needs to reinvent the hospital drama, stat.
    • 62 Metascore
    • 60 Tim Goodman
    If you're the kind of person who likes scary shows and mythology, it might be fair to give The Exorcist a chance for a few episodes to see what it has planned. Both Daniels and Herrera are charismatic, and if the writers can make the God vs. the devil face-off grow beyond the Rance household, there might be a show here that's worth a few scares.
    • 62 Metascore
    • 50 Tim Goodman
    Because it's not just those three main players that Snowfall focuses on, but myriad people around each of them. By telling bits of the story involving those additional characters, Snowfall never seems to get around to the actual story of crack. Most series that get by despite complicated storylines or a lagging pace do so with top-tier writing and standout performances.
    • 31 Metascore
    • 25 Tim Goodman
    The new show takes a wispy idea and stretches it past its limit, leaving no laughs, no character development and certainly no impetus to watch again.
    • 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.
    • 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
    • 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.
    • 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
    • 75 Tim Goodman
    Sometimes formula done entertainingly is just what the country wants to eat.
    • 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.
    • 89 Metascore
    • 100 Tim Goodman
    But this is what a great TV series does -- it mines difficult emotional ground. It's willfully complex, putting popularity at risk. It avoids convention and takes irregular dramatic steps. With that in mind, watch Rescue Me at your own risk.
    • 61 Metascore
    • 25 Tim Goodman
    It seems like a middling Fox series with a monotonous glut of obscenities and some nudity tossed in to make it pay-cable worthy.
    • 86 Metascore
    • 100 Tim Goodman
    The Pacific is a superb, viscerally moving and harrowing depiction of World War II and a worthy complement to "Band of Brothers" (2001).
    • 61 Metascore
    • 25 Tim Goodman
    The series is flat-out tone deaf; a limp drama and a grating, messy misfire as a comedy.
    • 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
    • 75 Metascore
    • 100 Tim Goodman
    It's Close who makes "Damages" a series to contend with.
    • 21 Metascore
    • 0 Tim Goodman
    A series so bad that it's daring you to watch. Don't.
    • 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.
    • 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
    • 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
    • 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.
    • 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.
    • 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.
    • 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.
    • 60 Metascore
    • 80 Tim Goodman
    It’s a mere two episodes, but The Magicians provided enough evidence that it has enough talent and ambition to keep the surprises coming.
    • 81 Metascore
    • 100 Tim Goodman
    Little Dorrit is anchored by an extraordinary performance by one of England's best actors. And like "Twist," that central performance is only one of many elements that make Dorrit not only terrific entertainment, but, in some ways, perhaps even better than its source material.
    • 60 Metascore
    • 70 Tim Goodman
    While The Last Ship won't be for viewers who want a lot of complexity and good writing, its predictability--ka-boom!--is not exactly a detriment in the summer. In fact, it might be the selling point.
    • 60 Metascore
    • 50 Tim Goodman
    While the original clips certainly make the concept interesting, the actual series suffers from a big divide in tone. And when you see the divide, you might end up wanting the show that's not there.
    • 60 Metascore
    • 90 Tim Goodman
    Superb, funny and wonderfully spot-on.
    • 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.
    • 60 Metascore
    • 50 Tim Goodman
    Some of it works, much of it doesn't.
    • 60 Metascore
    • 80 Tim Goodman
    Even though the movie is loaded with enough to satisfy those who believe Spector did it, as Mirren’s role is written and Pacino’s performance hints at, the film seems eager to suggest Spector was found guilty mostly of being a freak. That have-it-both-ways storytelling doesn’t make Phil Spector a great legal movie, but it allows two exceptional actors and a talented writer a chance to play with reality.
    • 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
    It's a nice gimmick, actually. Too bad the results seem so childishly undeveloped.
    • 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.
    • 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.
    • 60 Metascore
    • 70 Tim Goodman
    Low Winter Sun makes you want to watch for the potential, but a little more sun (or dark humor) to offset the This Is Serious tone would go a long way in encouraging that potential to be realized.
    • 60 Metascore
    • 40 Tim Goodman
    What we’re left with is a very underwhelming hour that will force even diehard fans (and yes, I was one of them) to consider whether pushing onward is really worth the time.
    • 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.
    • 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
    • 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.
    • 38 Metascore
    • 0 Tim Goodman
    It's just heinous. Absurd, laughable, painful to watch--you name it, Moonlight has it all.
    • 60 Metascore
    • 60 Tim Goodman
    Divorce is a smarter and more ambitious show than that and it wants to soak in the emotions, which is more admirable than watchable (especially because Parker is the one marinating in the sadness, not getting many of the funny or withering lines).
    • 60 Metascore
    • 10 Tim Goodman
    American Housewife is a paint-by-numbers sitcom that's relentlessly stupid around the edges and deeply misguided at its center.
    • 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.
    • 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
    "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?
    • 59 Metascore
    • 30 Tim Goodman
    It's a laborious, cliched bit of retread television.
    • 59 Metascore
    • 70 Tim Goodman
    Back In the Game doesn't really scream long-term storytelling beyond the family dynamic, which is precisely why it's wedged between The Middle and Modern Family on ABC. ... But this is a series that would seem to need, at minimum, four episodes before the audience could begin to get a real feel for it. Even smushed between two high-caliber comedies, there might not be enough lift to let all the charms of Back in the Game play out.
    • 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
    • 63 Tim Goodman
    Setting up the first big heist takes all of the first episode, so our introduction to Smith and crew is too quick, more than a little forced and ultimately not compelling enough.
    • 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.
    • 98 Metascore
    • 100 Tim Goodman
    This is a series that goes beyond critical darling. "The Wire" is better than its own hype. If you don't watch the show, it's your fault, your loss.
    • 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.
    • 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
    • 70 Tim Goodman
    Mostly Against the Wall is a pleasant surprise, with Carpani being a much bigger surprise.
    • tbd Metascore
    • 100 Tim Goodman
    Yes, it's brilliant, again.
    • 59 Metascore
    • 25 Tim Goodman
    The best that "The Class" can muster is a kind of cookie-cutter familiarity (also known as lameness) that gets prodded by the laugh track to make everyone at home feel like a good time is being had. It's not.
    • 59 Metascore
    • 70 Tim Goodman
    Martini was a solid pick. ... As for the stories inside Prime Suspect: Tennison, they hold up because they are gruesomely complicated (the murder of a 17-year-old girl that hardens Tennison) and ambitious (mob shenanigans in the B-storyline that also serve to slowly hone Tennison's deductive skills, which are innately there when we meet her). As a standalone series, this might be a letdown, but as the beginning of a separate journey and an ongoing exploration, it's full of promise.
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 60 Tim Goodman
    The first three episodes are good if a little erratic, but that's true of most sitcoms.
    • 58 Metascore
    • 30 Tim Goodman
    A patchwork pastiche of 1960s clichés that tracks the killings of Charles Manson through a hippy-trippy Los Angeles, because all you really want is for Duchovny to be in The X-Files instead.
    • 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
    • 30 Tim Goodman
    The Crazy Ones is part manic and part maudlin, neither emotion effective.
    • 58 Metascore
    • 10 Tim Goodman
    There is so much wrong with the manipulative, poorly written and executed ABC drama The Family, it's difficult to know where to begin.
    • 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.
    • 58 Metascore
    • 30 Tim Goodman
    Now, whether or not you believe in all this stuff is unimportant. "Medium," as a TV series, just isn't very good. [3 Jan 2005]
    • San Francisco Chronicle
    • 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
    • 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.
    • 44 Metascore
    • 0 Tim Goodman
    Insipid, poorly written and saddled with an onerous laugh track, "The Winner" is lame even by Fox's standards.
    • 58 Metascore
    • 70 Tim Goodman
    Fiennes gives Camelot some feistiness and playfulness, and the whole affair is boosted by the fiery Green, a bit part by James Purefoy, plus strong performances in the supporting cast (and yet more wonderful costumes by Joan Bergin, who worked her Emmy-winning magic on Tudors).
    • 58 Metascore
    • 50 Tim Goodman
    Intriguing--but not especially enjoyable.
    • 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.
    • 58 Metascore
    • 25 Tim Goodman
    Seems a gigantic miss for HBO. Although King has tried to write a B-story for Cherish -- her home life -- it doesn't ring true.
    • 58 Metascore
    • 50 Tim Goodman
    The pilot is not especially funny. But it has potential.
    • 58 Metascore
    • 30 Tim Goodman
    A moving, emotional and even competent show could have been made about sick or dying young people. But instead, Red Band Society wants to take your emotions and manipulate them--and then, only then, will it predictably and with malice drop the Coldplay anvil on you.
    • 58 Metascore
    • 30 Tim Goodman
    Beyond feeling like it’s a flippant NBC comedy, Grace and Frankie also feels very 1999.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 78 Metascore
    • 75 Tim Goodman
    There's some spot-on and sharp humor throughout, but it never gets too light and breezy.
    • 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.
    • 28 Metascore
    • 50 Tim Goodman
    You might not remember to record it every week, but if you stumble upon it, you might stay.
    • tbd Metascore
    • 100 Tim Goodman
    The good news is that after a creatively weak and shortened Season 5... it appears that one of television's finest series has regained its momentum and sure footing and will -- barring a misstep -- walk out of the spotlight at the height of its emotional resonance.
    • 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.
    • 48 Metascore
    • 25 Tim Goodman
    "In Justice" is a mess -- and it will take at least two additional episodes to find out which direction the show is going and whether that direction is an improvement.
    • 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
    • 50 Tim Goodman
    The real problem with "Justice" is that the series is very average.
    • 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
    • 70 Tim Goodman
    The results are entertaining enough (the writing from Ronan Bennett and directing from J Blakeson has a fluidity to it that never makes you check the time) and the cast certainly delivers, but this is a miniseries that would have been better timed for March, given everyone trying to catch up on the best that TV has to offer right now.
    • 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
    • 50 Tim Goodman
    There's probably an actual working and perhaps even funny show lurking in Powerless. But we may not know that for five or six episodes, and NBC only made one episode available for review.
    • 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
    • 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.
    • 36 Metascore
    • 0 Tim Goodman
    In what has to be one of the most difficult achievements in modern television history, NBC has managed to make "Watching Ellie" exponentially worse in this "new" version.
    • 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.
    • 57 Metascore
    • 75 Tim Goodman
    It's a big soapy epic that allows you to turn off your brain late at night, but it ultimately carries no gravitas, minority hiring or not. As long as we're clear on that, there's nothing wrong for applauding what the series gets right, given the constraints of the genre.
    • 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.
    • 57 Metascore
    • 75 Tim Goodman
    The promise that Trump will be Trump is fulfilled on "The Apprentice" -- he is funny bossing these 16 people around. And there are worse things on television than watching a guy with two advanced degrees -- an M.D. and an MBA -- make a complete ass of himself trying to sell lemonade to tourists. [7 Jan 2004]
    • San Francisco Chronicle
    • 57 Metascore
    • 100 Tim Goodman
    The Life & Times of Tim--is flat-out brilliant and easily one of the funniest newcomers to television.
    • 57 Metascore
    • 50 Tim Goodman
    Ryan seems too inert, not nearly aggressive enough for the role.
    • 57 Metascore
    • 50 Tim Goodman
    Most of the jokes are amusing but only a couple got big laughs because they're offbeat like the premise.
    • 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
    • 70 Tim Goodman
    The cast is terrific and there’s enough humor to spirit away 23 minutes, but it hardly seems, in this early going, purposeful or magnetic.
    • 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.
    • 56 Metascore
    • 80 Tim Goodman
    Your eyes are in for a treat, and Judd grows on you.
    • 56 Metascore
    • 70 Tim Goodman
    If you're not put off by some of those Sorkin traits--and honestly, they are ever-present--then The Newsroom might be a drama that hooks you with what it's ultimately trying to say about some complicated issues.
    • 33 Metascore
    • 0 Tim Goodman
    Terrible writing, painful acting, forced comic situations.
    • 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
    • 30 Tim Goodman
    Lethal Weapon is ridiculous and predictable, a super familiar story with new leads reminding you of old leads, and modern personalities that are really dated personalities. It's a copy of copy of a copy and praying for something fresh out of that is, well, pretty ridiculous.
    • 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
    • 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.
    • 56 Metascore
    • 70 Tim Goodman
    Early on, there's enough intrigue and style in Magic City to keep the viewer wanting more, but it's not as fully realized from the get-go as shows like Mad Men, Game of Thrones and Breaking Bad.
    • 52 Metascore
    • 75 Tim Goodman
    It's all light, good fun. Yes, there's a heavy dose of syrup, but Cannavale should be able to cut that to satisfactory levels. Paulson is perfect as the love guru who believes in rationality while Cupid believes in passion.
    • 56 Metascore
    • 70 Tim Goodman
    It does not--repeat, not--take a con to catch a con. That is by now a very tired television cliche and one that's embraced by Kings. But the series overcomes this crutch to become a mostly interesting diversion from going to work five days a week.
    • 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
    • 70 Tim Goodman
    For people looking for the next Housewives, GCB could be the perfect replacement.
    • 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
    • 80 Tim Goodman
    By the second episode, 1600 Penn neatly has found its compass on how to be a show about the first family and how to define the ensemble.
    • 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.
    • 55 Metascore
    • 25 Tim Goodman
    It's all soapy nonsense with emotional entanglements underscored by catchy and moving pop songs.
    • 55 Metascore
    • 70 Tim Goodman
    So it was a night where Williams and Walken, at disparate ends of the live performance, gave a lot to their roles and to the success of the night. It wasn't flawless (and if you factor in the moments when Walken seemed to be particularly awash in the lights, maybe you'll be crueler about the overall quality), but it was entertaining enough for three hours of live song and dance.
    • 55 Metascore
    • 80 Tim Goodman
    The ensemble cast is large and strong and littered with enough character intricacies to fuel long-tailed story arcs. And while there’s much to set up, the series moves briskly enough (and with enough action to liven up the detailed story setups) that everything gains clarity by the end of the second episode.
    • 55 Metascore
    • 80 Tim Goodman
    It has chills and humor and the ability to take a procedural story and twist it.
    • 55 Metascore
    • 40 Tim Goodman
    Bain obviously wanted some wacky and dark collision to create the comedy, but there's just not enough of it to sustain much interest in a series that moves slow even when Showtime cuts it in half.
    • 54 Metascore
    • 30 Tim Goodman
    It's a series that looks like a whole bunch of cooks decided to build the most creatively awesome and different kitchen imaginable, forgetting for a moment that none of them can really cook.
    • 54 Metascore
    • 80 Tim Goodman
    Comedy Central has been able to take a can’t-miss idea and move it from short online sketches to a series of sketches that fill a half hour of television with a unified theme and increased production value, while bringing the brilliant idea to a wider audience.
    • 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.
    • 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
    • 50 Tim Goodman
    Until the writers figure out how to better serve Dickens and Curtis--who are reduced to passively reacting to things around them--there's a vacuum on Fear the Walking Dead that's undercutting its forward momentum, just as it has solved its lack of action issue with the zombies.
    • 54 Metascore
    • 80 Tim Goodman
    Into the Badlands is probably the very best non-zombie accompaniment to The Walking Dead that AMC could have ever dreamed up.
    • 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
    As is the case with a lot of animated shows based in a very alternate reality, you really have to be in the mood for Animals, a hit-or-miss series that weaves a couple of disparate stories of the animals into a half-hour set against the background of a perpetually rainy New York City.
    • 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
    • 25 Tim Goodman
    The trouble with Castle is that it's just so completely fluffy - which is annoying.
    • 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.
    • 54 Metascore
    • 50 Tim Goodman
    It's not compelling at all.
    • 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
    • 10 Tim Goodman
    What The CW is doing here (and Kane perpetuates with her take on teenage girls and their intelligence) is approaching television with the perspective that the target audience is profoundly idiotic.
    • 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.
    • 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?
    • 53 Metascore
    • 30 Tim Goodman
    CBS's The McCarthys manages to be unfunny, dated and stereotypical all in under a half-hour.
    • 53 Metascore
    • 38 Tim Goodman
    One of those series that looks great on paper but ends up less-than-thrilling on the screen.
    • 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.
    • 53 Metascore
    • 25 Tim Goodman
    Hokey and poorly paced with unfathomably lame flashbacks, it's like a relentlessly mediocre movie of the week that still has 11 more hours to go.
    • 52 Metascore
    • 20 Tim Goodman
    Deception just seems sloppily constructed and poorly written, wasting some good actors (Victor Garber, Tate Donovan and Meagan Good) in the process and never giving you a reason to care.
    • 52 Metascore
    • 10 Tim Goodman
    In Fox’s instantly awful Gang Related, it’s pretty clear right away that you’re dealing with a pile of clichés that, pushed together and financed, can never be more than dreadful.
    • 52 Metascore
    • 75 Tim Goodman
    As in "Sunny," they are almost-lovable losers, and that's a formula FX is now perfecting.
    • 52 Metascore
    • 70 Tim Goodman
    A solid if unspectacular story about one of the most unlucky lawyers ever depicted on television.
    • 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.
    • 52 Metascore
    • 0 Tim Goodman
    Spartacus is an exercise in some of the worst writing, acting and directing you'll ever see (or not).
    • 52 Metascore
    • 80 Tim Goodman
    One of the new offerings that stands out from the pack is ABC's coming-of-age series, The Goldbergs, which is fueled partly by nostalgia, partly by the great Jeff Garlin's constant yelling and partly out of some outstanding writing. A strong cast doesn't hurt, either.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 0 Tim Goodman
    45 minutes of bad writing, bad acting and bad storytelling.
    • 51 Metascore
    • 30 Tim Goodman
    There’s no chemistry at all between Good and Sands. The pilot is limp and lifeless, and while you know that the trajectory of the series has to somehow involve the precog kids getting back together, but by the end of the pilot you won’t really care one way or another.
    • 51 Metascore
    • 25 Tim Goodman
    The writing in "Heist" is self-consciously forced, as if the writers are breaking their backs to be quick-witted and clever. It's painful to hear.
    • 51 Metascore
    • 30 Tim Goodman
    Backstrom is pretty bad on a number of levels and can't ultimately be forgiven for wasting Dennis Haysbert.
    • 51 Metascore
    • 25 Tim Goodman
    Obviously the CW wanted to milk the popularity of shows like "Glee," which has singing and dancing. And is enormously popular. You can't blame the CW (except maybe for leaving out the creativity, for having a terrible script and for the acting, which hurts to witness).
    • 51 Metascore
    • 10 Tim Goodman
    So much of this remake loses the original’s subtlety (no doubt decades of more pointed horror movies have taken their toll) that outside of the aforementioned three worthwhile elements [Paris, Zoe Saldana, and Zoe Saldana in her underwear] everything seems to be a waste of time.
    • 51 Metascore
    • 75 Tim Goodman
    "Vanished" is indeed compelling. And it is without question Fox's best fall offering (though, having seen all its shows, that praise is not as high as you might expect).
    • 51 Metascore
    • 25 Tim Goodman
    Had they taken a closer look at how it all meshed together (or didn't), they'd have seen a series that has almost no funny moments, maybe one character the audience may feel affinity for, and any number of scenes where dumb is piled on dumber.
    • 51 Metascore
    • 75 Tim Goodman
    Despite the title, Cougar Town seems more female centric, which is key to ABC's audience, and it's a little more formulaic than "Modern Family," but both are welcome new sitcoms.
    • 51 Metascore
    • 75 Tim Goodman
    The promise of grown up storytelling is alluring. This is a series to watch to see if it grows.
    • 51 Metascore
    • 10 Tim Goodman
    American Gothic is about a bunch of good actors who got suckered into a really bad series.
    • 50 Metascore
    • 63 Tim Goodman
    "Help Me Help You" has a few more surprises and comedic heft to it than expected.
    • 50 Metascore
    • 50 Tim Goodman
    The elements for a very good show are all in place but the show keeps getting in its own way.
    • 50 Metascore
    • 0 Tim Goodman
    You will want all the extras who played vamps on "Buffy the Vampire Slayer" (which was great, by the way, and not to be blamed for this lackluster cousin) to return en masse to eat the cast of "Vampire Diaries," plus any remaining scripts.
    • 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.
    • 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).
    • 50 Metascore
    • 20 Tim Goodman
    Kennedys is a hamfisted mess, both slothful in its pacing and leaden in whatever underlying message was meant to be given. It's not the Kennedy family or legacy that suffers here, but the people involved in the project.
    • 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.
    • 50 Metascore
    • 30 Tim Goodman
    As much as I don't like it, I pretty much love the whole cast.
    • 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."
    • 49 Metascore
    • 30 Tim Goodman
    If you're at all discerning, it's like getting peanut butter on your steak. You'd rather have that separate. And on different nights.
    • 49 Metascore
    • 70 Tim Goodman
    Rote but entertaining, Chicago Fire can't be ruled out as perhaps one of NBC's best chances for a hit.
    • 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
    • 40 Tim Goodman
    This is only a first take, but a few things can be derived from it. The most obvious one is that this is a show that's a work in progress. The Wednesday premiere felt disjointed, lacking a point or a clear reason for being and--least promisingly--it wasn't very funny.
    • 49 Metascore
    • 10 Tim Goodman
    This is a really bad show. It’s a show so bad that if it was smart enough to be a spoof, it would be genius. But it’s not.
    • 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.
    • 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.
    • 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.
    • 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
    • 38 Tim Goodman
    The first episode is moody and violent but not particularly frightening. The second is psychobabble nonsense without much suspense.
    • 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
    • 63 Tim Goodman
    Discerning viewers -- and anyone who's hooked on "Lost" -- will realize that "Jericho" is doling out hints to a very large mystery at a very slow pace, which is never a good combination.
    • 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.
    • 48 Metascore
    • 50 Tim Goodman
    A very good idea but executed in the pilot with too much sap and manipulation.
    • 48 Metascore
    • 70 Tim Goodman
    With a strong cast (Lewis and Phillippe in particular), the buy-in here is easy. Whether it can reach the creative heights of, say, Broadchurch, which has a similar story, remains to be seen.
    • 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.

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