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 2.2 points lower than other critics. (0-100 point scale)

Tim Goodman's Scores

Average review score: 62
Highest review score: 100 Everybody Hates Chris: Season 1
Lowest review score: 0 The Neighbors: Season 1
Score distribution:
700 tv reviews
    • tbd Metascore
    • 100 Tim Goodman
    Still a wondrous thing to watch.
    • tbd Metascore
    • 100 Tim Goodman
    Yes, it's brilliant, again.
    • 96 Metascore
    • 100 Tim Goodman
    It's the best series on television, end of story.
    • 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.
    • tbd Metascore
    • 100 Tim Goodman
    If last season tended toward painful self-evaluation -- it made for great drama but a head full of bleakness -- Season 3 hints not so much at a more clearly defined, lighter tone but perhaps more living life out loud than living it in the head.
    • 76 Metascore
    • 100 Tim Goodman
    The joy of this series really comes down to two things: lots of action and some babelicious butt-kicking. Not something to be proud of for enjoying it, but true. Pass the chips and ale -- and down in front!
    • 93 Metascore
    • 100 Tim Goodman
    David's ability to hone in and magnify the most socially awkward moments in life is almost frightening. If this series didn't make you double over in laughter every couple of minutes, it would be a whole other kind of torture.
    • 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.
    • 98 Metascore
    • 100 Tim Goodman
    The funniest thing you're likely to see all year.
    • 93 Metascore
    • 100 Tim Goodman
    For those unbowed by the lack of formula, this second season of "The Office" has rewards even greater than the first. The series is both funnier and darker -- much darker -- than last season.
    • 78 Metascore
    • 100 Tim Goodman
    Making a film is kind of a nightmare, but a riveting one. And Project Greenlight is in itself a riveting documentary. It's got a hero, it's got stars, it's got drama. In 12 parts, we'll find out if there's a happy ending.
    • 92 Metascore
    • 100 Tim Goodman
    A stunning piece of television about a rogue cop and that dangerous line between effective police work and ethical transgressions. This series is brutal and frank, with little wasted energy or misdirection.
    • 85 Metascore
    • 100 Tim Goodman
    What remains compelling about The Shield as it heads into its last hurrah are the gray areas and ethical gradations of the characters that have defined it.
    • 78 Metascore
    • 100 Tim Goodman
    Stunningly great execution.
    • 95 Metascore
    • 100 Tim Goodman
    The most ambitious storytelling series on television. ... "The Wire" is the best show on HBO, which means it's the best show on television, period. If you want in on it, even if you missed the first go-around, you'll find a way to make sense of it all.
    • 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.
    • 98 Metascore
    • 100 Tim Goodman
    The breadth and ambition of "The Wire" are unrivaled and that taken cumulatively over the course of a season -- any season -- it's an astonishing display of writing, acting and storytelling that must be considered alongside the best literature and filmmaking in the modern era.
    • 89 Metascore
    • 100 Tim Goodman
    In the end, there will likely be a lot of unhappiness, dead bodies, same-as-it-ever-was institutional failure, lack of responsibility and the triumph of self-interest over the greater good. Not exactly a Hallmark card, but one hell of an artistic achievement.
    • 89 Metascore
    • 100 Tim Goodman
    Graham Yost, who wrote HBO's "Band of Brothers," creates deeply drawn characters who are revealed slowly over the course of an episode (and season). He's the kind of writer whose vision and touch you can trust over the long haul.
    • 93 Metascore
    • 100 Tim Goodman
    But this much is true: Deadwood is cocksure brilliant. David Milch, who put the glory into "NYPD Blue," is clearly and defiantly uninterested in political correctness. He just wants to make a great Western for TV. In that, he's succeeded. [4 Mar 2005, p.E1]
    • San Francisco Chronicle
    • 85 Metascore
    • 100 Tim Goodman
    This series is one of a kind.
    • 89 Metascore
    • 100 Tim Goodman
    There are moments in Arrested Development, Fox's new sitcom, that are pants-wettingly funny. There are jokes and scenarios that bend you over in gleeful agony. All of a sudden, with this last new fall series offering -- hope having been beaten out of all of us -- we get one of the most hysterically ridiculous half hours on television.
    • 88 Metascore
    • 100 Tim Goodman
    This is one of maybe six or so elite series on all of television that you should absolutely be watching. Pitch-perfect acting (ensemble stars Jason Bateman and Jessica Walter were robbed of Emmys) and nuanced writing that staggers you with its cleverness and lunacy makes this more than a typical dysfunctional-family sitcom. [3 Nov 2004, p.E1]
    • San Francisco Chronicle
    • 79 Metascore
    • 100 Tim Goodman
    This is a series that was completely unexpected, and Hall has hard-and-fast rules about what Joan and God can do. She's not making up the story arcs on the fly, which gives confidence that this unusual creation is in good hands. [25 Sept 2003, p.E1]
    • San Francisco Chronicle
    • 84 Metascore
    • 100 Tim Goodman
    State of Play is one of those series where a moment's brilliance is rivaled by the very next scene, a careening thriller that gives credence to the idea that there may not be any better format for telling an impact story than over the course of four or six hours. [16 Apr 2004, p.E1]
    • San Francisco Chronicle
    • 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.
    • 94 Metascore
    • 100 Tim Goodman
    "Battlestar Galactica" not only lives up to its sci-fi gold-standard reputation but also should be considered straight up as one of television's most appealing dramas, no matter the genre.
    • 85 Metascore
    • 100 Tim Goodman
    There are many small and wonderful dramatic accomplishments in the underappreciated gem that is Battlestar Galactica, but perhaps the most enduring is that what was conceived of as an epic space adventure has turned into a finely detailed, intimate drama.
    • 87 Metascore
    • 100 Tim Goodman
    Lost has a stellar, varied cast, it is shot beautifully and it surprises more often than it makes you wince or wheeze, which, in the math of action-adventure-sci-fi-thrillers, is a good thing. [22 Sept 2004, p.E1]
    • San Francisco Chronicle
    • 87 Metascore
    • 100 Tim Goodman
    Three more words: Oh. My. God.