For 894 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: 62
Highest review score: 100 The Wire: Season 2
Lowest review score: 0 Hank: Season 1
Score distribution:
894 tv reviews
    • 71 Metascore
    • 70 Tim Goodman
    The good news is that most of it is swiftly and creatively entertaining and imaginative--which it deserves more credit for but won’t get because of its obscure heritage and hourlong, sometimes dark approach to comedy. If you’re looking for something different, though, give the end of the world a chance.
    • 67 Metascore
    • 70 Tim Goodman
    When the writers nail the truisms--Madrigal’s character says he hasn’t seen a movie since 2008, and when Andy and his wife, Laurie (Annie Mumolo), get a couple of free hours to ostensibly have sex, they choose instead to catch up on Homeland--the series really clicks.... Where About a Boy suffers is when the storytelling gets a little too saccharine in the Will-Marcus friendship.
    • 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.
    • 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.
    • 71 Metascore
    • 70 Tim Goodman
    While it’s clear that Vikings isn’t going to be Game of Thrones, it’s a series that increases its entertainment value and interest level as it goes along.
    • 59 Metascore
    • 70 Tim Goodman
    Mostly Against the Wall is a pleasant surprise, with Carpani being a much bigger surprise.
    • 71 Metascore
    • 70 Tim Goodman
    As comedy pilots go this season, the end result is a rarity in that there were laughs.
    • 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
    • 70 Tim Goodman
    There were some nerves--how could there not be?--and there were plenty of flashes of the wickedly smart and super-fast comedic intellect he’s honed over the years. Did it all work? Of course not. But what I liked most was the feeling that Colbert was going to reveal a side of himself that he didn’t get to show much on the Colbert Report or even The Daily Show.
    • 69 Metascore
    • 70 Tim Goodman
    Empire is a big swing for Fox, and there are a number of question marks and stumbling blocks within it, but ultimately its entertainment level transcends the worries.
    • 76 Metascore
    • 70 Tim Goodman
    Even at a commercial-free 30 minutes, Last Week Tonight felt rushed and jam-packed with information, heightened by Oliver's tendency to get excited and/or yell. Those are all good traits (and, historically, pretty funny traits of his), but the entire concept might work better at an hour so he could at least breathe.
    • 69 Metascore
    • 70 Tim Goodman
    If, like most sitcoms, Mindy still is in a growth phase, it's clear the writing and acting are there to be developed.
    • 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.
    • 65 Metascore
    • 70 Tim Goodman
    A lot worked from this first show. The set looks great, and legendary house band the Roots were, as usual, flawless. When U2 asked them, impromptu, to join in their acoustic jam from the couch, they didn't miss a beat, and the up-tempo atmosphere told the audience one clear thing: Hey, this is fun. You might want to come back and check it out again.
    • 65 Metascore
    • 70 Tim Goodman
    You have a series that cobbles together a pretty strong rooting interest.
    • 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.
    • 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.
    • 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.
    • 70 Metascore
    • 70 Tim Goodman
    24: Live Another Day can and should only be judged on one metric--is it entertaining. And that, happily, is a real no brainer. Of course it’s entertaining.
    • 71 Metascore
    • 70 Tim Goodman
    Agents of SHIELD always felt like a series that was missing a center (those superheroes), and it took a lot of episodes for the series to even find its own way and establish its own characters as at least semi-interesting substitutes to what you got at the movies. Gotham, on the other hand, arrives as its own entity, a wholly realized universe, in a separate time and place, with enough intriguing characters and a stylized visual presence that is immediately intriguing.
    • 66 Metascore
    • 70 Tim Goodman
    Ultimately, Go On is about a group with quirks and heart, stirred up by Perry, and the pilot is largely appealing until the final minutes, which are as broad as the 405.
    • 65 Metascore
    • 70 Tim Goodman
    Good Behavior kicks off as maybe the best drama pilot TNT has produced since Southland, while Dockery's new direction as a bad girl is wonderfully realized--and a very welcome relief for anyone tired of the reserved Lady Mary. ... But more than anything, Good Behavior's pivotal fourth episode will need to address how Letty and Javier stay together and why--and it can't take place in a car with a fading battery. If there's a convincing way to keep these two connected, Good Behavior could really be something for TNT.
    • 66 Metascore
    • 70 Tim Goodman
    Season two at least appears stronger than last year but this all comes with a caveat, which is pretty much everything before this sentence. That is, Newsroom is the show we’re getting from Sorkin even if it might not, for some of us, be quite the show we wanted.
    • 66 Metascore
    • 70 Tim Goodman
    The fact is, these kinds of grand historical reimaginings can be a scrumptious combination of costume drama acting, soap opera theatrics and pay cable promiscuousness. That'll make the hours fly by. And it doesn't mean your pleasure needs to be all that guilty.
    • 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.
    • 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.
    • 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).
    • 85 Metascore
    • 70 Tim Goodman
    Good because it’s as funny and sweet and prickly as what viewers got in Season 1, with continued standout performances by Odenkirk and Banks, and a very welcome initial broadening of both McKean’s role as Chuck; and Rhea Seehorn’s role as Kim Wexler, Jimmy’s girlfriend. Yet, bad because there’s also more of the same, as Jimmy struggles to stay on the straight-and-narrow and how that struggle tears at him.
    • 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.
    • 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.

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