For 699 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 Pushing Daisies: Season 2
Lowest review score: 0 Moonlight: Season 1
Score distribution:
699 tv reviews
    • 66 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.
    • 63 Metascore
    • 50 Tim Goodman
    It's light but predictable fun.
    • 56 Metascore
    • 50 Tim Goodman
    The Whole Truth, which airs opposite "The Defenders" on ABC, is less lousy.
    • 70 Metascore
    • 50 Tim Goodman
    It's a rote cop show, but in the last five minutes or so, it hints at something deeper.
    • 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.
    • 48 Metascore
    • 50 Tim Goodman
    Not nearly as good or as complex as "Justified" on FX, but it's a decent hour of mindless entertainment.
    • 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.
    • 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.
    • 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."
    • 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).
    • 62 Metascore
    • 50 Tim Goodman
    How about less ghost, more Margo? That might help A Gifted Man become better than very average.
    • 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
    There's not much payoff to the premise. Which is a real shame, because there's a good show here somewhere
    • 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.
    • 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.
    • 62 Metascore
    • 50 Tim Goodman
    Perhaps the worst offense by 666 is that it's not even an ounce scary.
    • 66 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.
    • 61 Metascore
    • 50 Tim Goodman
    The series still can't get liftoff because it seems like a limp copy.
    • 59 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.
    • 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.
    • 50 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.
    • 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.
    • 55 Metascore
    • 50 Tim Goodman
    There’s nothing overtly bad about the first two episodes of Dracula but neither was there anything compelling.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 43 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.
    • 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.
    • 58 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.
    • 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.
    • 45 Metascore
    • 40 Tim Goodman
    The whole thing quickly becomes hokey and a grind. Blame goes consistently to the writing.
    • 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.
    • 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.
    • 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.
    • 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.
    • 49 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.
    • 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.
    • 36 Metascore
    • 40 Tim Goodman
    The point is, a bunch of good actors are stuck in a sitcom that has limited appeal.
    • 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.
    • 45 Metascore
    • 40 Tim Goodman
    When the series works it's when Long and Hornsby invest their characters with counter-intuitive hope and positivity.
    • 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.
    • 60 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.
    • 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.
    • 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.
    • 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.
    • 57 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.
    • 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.
    • 57 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
    • 40 Tim Goodman
    For a moment, it feels like a big screen action flick. Then the plot unfolds and it’s back to Familiarville.
    • 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.
    • 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.
    • 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
    • 38 Tim Goodman
    The first episode is moody and violent but not particularly frightening. The second is psychobabble nonsense without much suspense.
    • 67 Metascore
    • 38 Tim Goodman
    To its credit, next week's second episode is better than tonight's revamped pilot: tighter, funnier and more expansive to other cast members.
    • 53 Metascore
    • 38 Tim Goodman
    One of those series that looks great on paper but ends up less-than-thrilling on the screen.
    • 40 Metascore
    • 38 Tim Goodman
    The whole series just misses its mark -- despite that mark being one of the fattest, ripest targets imaginable.
    • 74 Metascore
    • 38 Tim Goodman
    By the time the second hour comes on Monday and tries to give these characters some dimension, you already know that the talent on both sides of the camera simply isn't there to make this a worthwhile trip.
    • 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]
    • 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.
    • 48 Metascore
    • 30 Tim Goodman
    It's all cheap, easy, predictable and not very clever.
    • 47 Metascore
    • 30 Tim Goodman
    Working is filled with bad jokes you can see coming from a country mile.
    • 47 Metascore
    • 30 Tim Goodman
    Retired at 35 is all about hitting your mark, spewing out a tired line then waiting for the canned laughter to start. Some people like the comfort of familiarity, but others just feel the contempt. Ahem.
    • 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.
    • 38 Metascore
    • 30 Tim Goodman
    Nothing in the first two of these trite NBC versions makes you want to continue with the others.
    • 61 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.
    • 67 Metascore
    • 30 Tim Goodman
    It has neither the exactitude of the times nor the talent of the writers to get at the issues, ala Mad Men, that illuminate the issues of the day.
    • 36 Metascore
    • 30 Tim Goodman
    The show is so wrapped up in moving the needle of apparently outrageous behavior that it never does anything but repeat itself.
    • 39 Metascore
    • 30 Tim Goodman
    With no other likable characters and a thin premise, Allen Gregory seems as one-dimensional as the animation.
    • 46 Metascore
    • 30 Tim Goodman
    Animating [the movie] doesn't actually make it better (or even funny), even if you bring back the original cast to do the voice work.
    • 47 Metascore
    • 30 Tim Goodman
    Two episodes of Sullivan & Son were like watching caricatures of characters you'd seen before (and were equally unfunny then).
    • 43 Metascore
    • 30 Tim Goodman
    The predictability is out in force on this series, and despite CBS' ability to make a hit out of pretty much anything it films, this one doesn't really stand up and make a case for itself.
    • 47 Metascore
    • 30 Tim Goodman
    There’s something plodding and portentous about Rogue, as if it were trying especially hard to be taken seriously, to have the ballast needed to compete with other serious cable dramas.
    • 50 Metascore
    • 30 Tim Goodman
    As much as I don't like it, I pretty much love the whole cast.
    • 58 Metascore
    • 30 Tim Goodman
    The Crazy Ones is part manic and part maudlin, neither emotion effective.
    • 44 Metascore
    • 30 Tim Goodman
    All this Ironside does is talk tough and spout exposition endlessly. Yak, yak, yak. There's more talking and less action in Ironside than there is in The Newsroom. Oh, and when there is action, it's just ridiculous.
    • 46 Metascore
    • 30 Tim Goodman
    As a package, Super Fun Night isn't much fun at all. The Kendall character is just too obviously mean and pretty and successful.
    • 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).
    • 40 Metascore
    • 30 Tim Goodman
    Centering one of Lilley's most annoying characters in a series to ramble on incessantly robs the character of its past effectiveness and makes her--and the series--almost unbearable to watch.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 30 Tim Goodman
    It should be noted that Geere and Cash are very, very good--they just need better material. (Unfortunately, the rest of the cast, even though they don't get much work, grind the show to a halt--an almost insurmountable problem except that Worst's penchant for trying to shock with crassness is really the stumbling block here).
    • tbd Metascore
    • 25 Tim Goodman
    There's a tart edge to some of the jokes, which helps the series, but the too- obvious nature of most of the humor and the pat good-parents-versus-bad- parents setup is trite.
    • 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.
    • 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.
    • 42 Metascore
    • 25 Tim Goodman
    The poor girl [Bynes] flops around so badly in the pilot, trying to mine laughs from physical comedy and sheer crazed movement, that you want to give her a vacation from the next three episodes.
    • 29 Metascore
    • 25 Tim Goodman
    The jokes in "Twenty" are both predictable and telegraphed.
    • 45 Metascore
    • 25 Tim Goodman
    It's one thing that Fimmel can't act (but boy, he puts a lot of heart into that grunting, and he does that thing where he just seethes, which allows the camera to get close to his face for long, long periods of time), it's another that the script is flat-out stupid and the rest of the cast isn't exactly pulling a De Niro.
    • 46 Metascore
    • 25 Tim Goodman
    One Tree Hill is more like "One Ill-Conceived Idea" or "One Note Hill." It just sits there, like desperate mush, a recipe for success that is bland and unsatisfying. It's like they came up with the concoction -- teen angst and pouting and brooding and raw emotions and shirtlessness -- then mixed it all together with lumpen writing and overarching themes.
    • 42 Metascore
    • 25 Tim Goodman
    Sure, it's got some ethically challenged cops, some overt racism, some faux hot sex and what looks to be a lot of money spent on filming on the streets of Los Angeles, but the writing is surprisingly nondescript, the acting rudimentary and the first hour ends with nothing much in the way of movement.
    • 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.
    • 44 Metascore
    • 25 Tim Goodman
    Bland and rote.
    • 40 Metascore
    • 25 Tim Goodman
    Let's present some evidence for you to analyze: A tired premise. Overly familiar characters. Dull writing. An unclear tone. A series that pales in comparison to any of the "CSI" shows and pretty much every new crime and punishment procedural in the last five years.
    • 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.
    • 39 Metascore
    • 25 Tim Goodman
    You won't really want to spend another hour with these people.
    • 39 Metascore
    • 25 Tim Goodman
    "E-Ring" is boring.
    • 40 Metascore
    • 25 Tim Goodman
    The premise is only a small part of the problem in "Four Kings." The writing is labored, adolescent and unfunny.
    • 32 Metascore
    • 25 Tim Goodman
    A monumental waste of time.
    • 37 Metascore
    • 25 Tim Goodman
    "Pepper Dennis" is so poorly written that the hokey dialogue not only besmirches journalism, but television journalism, which really takes some serious hackery to accomplish.
    • 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.
    • 39 Metascore
    • 25 Tim Goodman
    "Courting Alex" is sadly predictable and unfunny at pretty much every turn.
    • 45 Metascore
    • 25 Tim Goodman
    This is a series that shimmers with potential -- until Dove shows up. Someone at the network must have thought "Free Ride" was too irreverently weird and creatively nuanced, so they made Dove as annoyingly cartoonish as possible.
    • 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.
    • 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.
    • 40 Metascore
    • 25 Tim Goodman
    Please say this is entertainment--and nothing more. That might not make it all right, but it would restore a whole lot of faith.
    • 27 Metascore
    • 25 Tim Goodman
    It becomes clear rather quickly that there's nothing funny going on here and, by the second episode, the show seems out of ideas for its paper-thin premise.
    • 33 Metascore
    • 25 Tim Goodman
    The worst offense is that it seems to have been pitched as the male version of you-know-what without any real interest in speaking to the notion of what it means to be a man or, if you'd like, what men think, feel and say.
    • 37 Metascore
    • 25 Tim Goodman
    Mainly Carpoolers uses the cheap conceit of four guys sharing time in the car (confiding in each other, getting away from their troubles at home) to distract you from the fact this is merely another unfunny comedy of forced antics, cliched jokes and unbelievable characters.
    • 29 Metascore
    • 25 Tim Goodman
    Not many women will want to come back after seeing it because the first 30 minutes are a complete and utter mess.
    • 64 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.
    • 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.
    • 74 Metascore
    • 25 Tim Goodman
    A charming but underwhelming pilot.... The second episode is dismal, sucking all the air out of whatever hopes you might have had for that one.
    • 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."
    • 44 Metascore
    • 25 Tim Goodman
    Unfortunately, most of the rest of the casting (and thus, acting) is a disaster. The writing is weak. And the fish-out-of-water story grows old within minutes. Not even a cute cub can save it.
    • 62 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.
    • 36 Metascore
    • 25 Tim Goodman
    It's a complete wince-inducing mess that makes you feel sorry for Shannon and annoyed at NBC and Nader.
    • 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.
    • 63 Metascore
    • 25 Tim Goodman
    The series is flat-out tone deaf; a limp drama and a grating, messy misfire as a comedy.
    • 53 Metascore
    • 25 Tim Goodman
    The trouble with Castle is that it's just so completely fluffy - which is annoying.
    • 40 Metascore
    • 25 Tim Goodman
    Return you must. Otherwise, you'll miss the full-on descent into pants-wetting, outrageous, sci-fi crackery that makes the final two hours fly by.
    • 35 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.
    • 40 Metascore
    • 25 Tim Goodman
    The Deep End is stupid. It is obvious and ridiculous and badly acted for the most part.
    • 53 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.
    • 41 Metascore
    • 25 Tim Goodman
    Mercy echoes all the worst efforts of "Nurse Jackie" without the brilliance of Falco to make you forget the shortcomings. Hell, it makes "Hawthorne" seem almost watchable.
    • 57 Metascore
    • 25 Tim Goodman
    It's all soapy nonsense with emotional entanglements underscored by catchy and moving pop songs.
    • 45 Metascore
    • 25 Tim Goodman
    Private Practice is bad. Not "worse than "Grey's Anatomy bad" in the sense that Rhimes really is good at pulling people's heart strings with melancholy and humor.
    • 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.
    • 28 Metascore
    • 25 Tim Goodman
    Face it, $#*! My Dad Says was a bad idea from inception to pilot.
    • 43 Metascore
    • 25 Tim Goodman
    My Generation's idea, of a documentary film crew that follows a high school graduating class in 2000 and revisits the cliche-heavy, stereotypical bunch in 2010 won't make you roll your eyes and get sick on your shirt. Everyone else--bibs on!
    • 63 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.
    • 36 Metascore
    • 25 Tim Goodman
    So it will continue to be ludicrous. And that's without mentioning the predictability, cliches like kryptonite and emotional pandering. Here's hoping next season, Smits gets to play a cop again.
    • 46 Metascore
    • 25 Tim Goodman
    Did you [NBC] get the memo about making fun of other cultures to the point where you bump up against the racism thing? Apparently not. India is a big country. Laughing at their cows and curry--it makes you look as if you've never traveled. (Additional note: Making fun of people is easy and cheap. Write that down.)
    • 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).
    • 65 Metascore
    • 25 Tim Goodman
    Belushi and O'Connell are two jokers who love the law and practice in Las Vegas and ... oh, forget it. The show is lousy.
    • 64 Metascore
    • 25 Tim Goodman
    It's as rote and unfunny and ridiculous as hundreds of other ambitionless sitcoms to hit the air.
    • 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.
    • 42 Metascore
    • 20 Tim Goodman
    It's painful to watch so many talented comedic actors, like Darby, Rajskub, and Dave Foley, who plays Andrew's boss at the magazine, suffer with this material.
    • 34 Metascore
    • 20 Tim Goodman
    A hilariously bad remake of the original, substituting the amazingly gorgeous Kristin Kreuk and Jay Ryan in the title roles, which is how The CW rolls.
    • 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.
    • 62 Metascore
    • 20 Tim Goodman
    No matter how you slice it, you won't find a quality cable series hiding inside.
    • 46 Metascore
    • 20 Tim Goodman
    It's definitely too laughably convoluted to go into.
    • 44 Metascore
    • 20 Tim Goodman
    Weird can be good, but this isn’t intentionally weird so much as it is plain bad.
    • 65 Metascore
    • 20 Tim Goodman
    Dumb and obvious and formulaic.
    • 38 Metascore
    • 20 Tim Goodman
    It never feels exciting, nor does it exhibit much of a pulse. ... It just seems disheartening to think that anyone would fall for Betrayal unless they had so many spare hours in their boring lives that losing one was no big deal.
    • 37 Metascore
    • 12 Tim Goodman
    The writing here is trite, the premise flimsy and the acting bad.
    • 28 Metascore
    • 12 Tim Goodman
    If "The War at Home" spent more time on good jokes instead of recycling every gimmick ever seen on TV, it might merely be mediocre, but it's worse.
    • 43 Metascore
    • 12 Tim Goodman
    The predictability and triteness of "Head Cases" make it difficult to type even a sentence in favor of any part of this series.
    • 22 Metascore
    • 12 Tim Goodman
    "The Game" commits all the sins you can imagine in a poorly conceived sitcom. It goes for laughs and sap, the world's most dangerous and noxious combination. It's also not funny, believable, interesting or... inspired.
    • 34 Metascore
    • 12 Tim Goodman
    Bad? It's a leech on your soul. Never have 22 minutes so felt like 44 minutes.
    • 31 Metascore
    • 12 Tim Goodman
    If you remember nothing about this column, remember this: "Hot Properties" is stupid and annoying.
    • 44 Metascore
    • 12 Tim Goodman
    We watched a second episode of "Crumbs" just to make sure there wasn't something hilarious for you under a rock, some morsel of humor left over. Um, no.
    • 28 Metascore
    • 12 Tim Goodman
    Woefully bad.
    • 29 Metascore
    • 12 Tim Goodman
    It's pointless to talk about who "stars" in this bloated music video, but the agents for both Vanessa Williams and Giancarlo Esposito need to be fired, summarily.
    • 25 Metascore
    • 12 Tim Goodman
    Preposterously unfunny.
    • 23 Metascore
    • 12 Tim Goodman
    It's a coming-of-age story so overwrought and emotionally predictable, it's -- what's the word here? -- unwatchable.
    • 28 Metascore
    • 10 Tim Goodman
    Dull, dimwitted and offensive.
    • 62 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.
    • 38 Metascore
    • 10 Tim Goodman
    It's a show that should never have been put on paper to begin with.
    • 37 Metascore
    • 10 Tim Goodman
    Partners plays like an idea written on a napkin, if that, and looks like it's from another era (a long past era, if that wasn't clear).
    • 26 Metascore
    • 10 Tim Goodman
    Lohan is woeful as Taylor from start to finish.... The best part is that it gets worse as it goes on, so in the right company with the right beverages, Liz & Dick could be unbearably hilarious toward the tail end of the 90-minute running time.
    • 33 Metascore
    • 10 Tim Goodman
    Watching We Are Men made me feel stupid almost immediately and then bitter that I'd wasted the time. But maybe that's because I wouldn't want to be anywhere near the four male representatives of this series, nor hear the actors portraying them say any more "jokes."
    • 43 Metascore
    • 10 Tim Goodman
    Basically, no cast has ever meshed less successfully than this one.... The situation set up for the comedy is all over the map and indecipherable, never more so than at work. The home-life scenes just have "Fake Sitcom" spray-painted all over them.
    • 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.
    • 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.
    • 45 Metascore
    • 10 Tim Goodman
    With lame flashbacks (her mother really wanted to kill herself--just you watch her say it, repeatedly) and crazy-people re-enactments, Black Box is just beyond silly. Add in Reilly’s ill-fitting performance and a need to spin around like a ballerina--free from those restrictive pills!--and you’ve got a recipe for never wanting anyone to find this Black Box let alone watch it.
    • 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.
    • 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.
    • tbd Metascore
    • 0 Tim Goodman
    The cheesiest reality show yet. ... It's hysterically bad. Honestly.
    • 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.
    • 25 Metascore
    • 0 Tim Goodman
    You won't see any worse acting across the broadcast spectrum. The women-in-peril scenes are vile. The writing is atrocious. The series is horrifically bad. And not in a way that would make a good drinking game.
    • 23 Metascore
    • 0 Tim Goodman
    It's stupid and annoying and a retread of countless other stupid and annoying, totally unoriginal WB sitcoms.
    • 33 Metascore
    • 0 Tim Goodman
    Terrible writing, painful acting, forced comic situations.
    • 45 Metascore
    • 0 Tim Goodman
    As for "The Loop," well, it's just heinous. True, we've said that before. But it can't be said enough. "The Loop": heinous.
    • 33 Metascore
    • 0 Tim Goodman
    "The Bedford Diaries" is just woeful -- the most trite, forced and stage-managed piece of empty titillation you're likely to see.
    • 41 Metascore
    • 0 Tim Goodman
    It's awful.
    • 29 Metascore
    • 0 Tim Goodman
    No series in recent memory has put so much attention on a pair of breasts.... Oh, and the show is terrible.
    • 37 Metascore
    • 0 Tim Goodman
    This is probably the worst sitcom of the fall.
    • 44 Metascore
    • 0 Tim Goodman
    Insipid, poorly written and saddled with an onerous laugh track, "The Winner" is lame even by Fox's standards.
    • 51 Metascore
    • 0 Tim Goodman
    45 minutes of bad writing, bad acting and bad storytelling.
    • 38 Metascore
    • 0 Tim Goodman
    It's just heinous. Absurd, laughable, painful to watch--you name it, Moonlight has it all.
    • 21 Metascore
    • 0 Tim Goodman
    It's the kind of bad that sells cheese or gets entertainment presidents fired--one or the other, or both.
    • 22 Metascore
    • 0 Tim Goodman
    A series so bad that it's daring you to watch. Don't.
    • 54 Metascore
    • 0 Tim Goodman
    Spartacus is an exercise in some of the worst writing, acting and directing you'll ever see (or not).
    • 41 Metascore
    • 0 Tim Goodman
    Speaking from outside the target demo but from long-suffering experience watching bad television, go with "unwatchable."
    • 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.
    • 37 Metascore
    • 0 Tim Goodman
    A moronic and ghastly effort that suffocates under the cloying and annoying blanket of a laugh track so disturbing it should be destroyed.
    • 30 Metascore
    • 0 Tim Goodman
    ABC's new drama Charlie's Angels seem to want to go back to the '70s to rustle up some girl power, but it fails miserably and offensively.
    • 19 Metascore
    • 0 Tim Goodman
    Work It is not so bad it's good. It's just terrible.
    • 47 Metascore
    • 0 Tim Goodman
    There is not one smart or endurable moment in this series.
    • 41 Metascore
    • 0 Tim Goodman
    This season, ABC has Neighbors, one of the least funny things to air on television since the last Hitler documentary on History.
    • 38 Metascore
    • 0 Tim Goodman
    Do not watch.
    • 15 Metascore
    • 0 Tim Goodman
    Talking any more about Dads is more wearying than actually watching it. Which was torture.
    • 48 Metascore
    • 0 Tim Goodman
    Mixology is a tone-deaf, poorly executed, badly written series that, in the parlance of the show, kind of rapes comedy.
    • 48 Metascore
    • 0 Tim Goodman
    Syfy's latest drama, Dominion, may be one of the dumbest, worst-acted, most poorly written series I've seen in ages. In no way should this encourage you to tune in hoping to rubberneck this bit of awfulness in hopes of creating some kind of new drinking game.
    • 35 Metascore
    • 0 Tim Goodman
    This is the modern-day granddaddy of turkeys.