For 851 reviews, this critic has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% 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 Rescue Me: Season 5
Lowest review score: 0 Modern Men: Season 1
Score distribution:
851 tv reviews
    • 42 Metascore
    • 50 Tim Goodman
    The problem with "Criminal Minds" -- other than there are 48 series in a similar vein, 39 of them on CBS -- is that every person in this cast has an area of expertise, and they spend the hour telling you about it in the most unrealistic workplace conversations you'll ever hear.
    • 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.
    • 41 Metascore
    • 50 Tim Goodman
    Feels forced.... What "American Dad" really resembles most is the less-funny outtakes from "Family Guy," done in a way that doesn't even pretend to be original. [4 Feb 2005]
    • San Francisco Chronicle
    • 57 Metascore
    • 50 Tim Goodman
    Ryan seems too inert, not nearly aggressive enough for the role.
    • 40 Metascore
    • 50 Tim Goodman
    It never finds a compelling vision while inside those heads to suggest it will be anything more than a good, but not great, hospital drama.
    • 65 Metascore
    • 50 Tim Goodman
    There's an old-school feel to the storytelling (shades of "Columbo") that makes it feel comfortable--perhaps too comfortable, or at least too easy.
    • 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
    • 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.
    • 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.
    • 55 Metascore
    • 50 Tim Goodman
    There’s nothing overtly bad about the first two episodes of Dracula but neither was there anything compelling.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 65 Metascore
    • 50 Tim Goodman
    It seems the writers got the initial idea in their heads -- Kyra Sedgwick raises hell -- then faltered in stacking the bricks around her. The accent is distracting, though the writers must have chosen Atlanta for a reason. The sweet tooth is gimmicky. And the fact she doesn't exactly close the trunk with force in the pilot is of some concern.
    • 60 Metascore
    • 50 Tim Goodman
    At some point, your head will explode.
    • 47 Metascore
    • 50 Tim Goodman
    There are funny moments here, mostly coming from Mohr's agitated rantings. But the laugh track is mighty intrusive, which detracts from the average jokes by throwing them in your face (or down your ear, as it were).
    • 68 Metascore
    • 50 Tim Goodman
    After a handful of episodes that were periodically funny and stridently downbeat (which seemed to be the goal), Baskets got stuck in that low gear.
    • 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."
    • 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.
    • 46 Metascore
    • 50 Tim Goodman
    It's painfully derivative on so many fronts that it sometimes seems you're watching five reality shows at once.
    • 67 Metascore
    • 50 Tim Goodman
    In truth, it's the bountiful hamminess of McShane and the other evildoers that makes Pillars great fun, even if it's never going to be a candidate for "Masterpiece Theatre."
    • 58 Metascore
    • 50 Tim Goodman
    The pilot is not especially funny. But it has potential.
    • 63 Metascore
    • 50 Tim Goodman
    It's light but predictable fun.
    • 67 Metascore
    • 50 Tim Goodman
    Even in the first episode, it's clear that "Desperate Housewives" is a vastly improved series from a year ago. The passing is better; the tone is more focused. It's funnier and more focused. But it's also still "Desperate Housewives," and there's that malodorous whiff of the whole thing being past its sell-by date. [22 Sep 2006]
    • San Francisco Chronicle
    • 48 Metascore
    • 50 Tim Goodman
    Actually, "Emily's Reasons Why Not" does have its funny moments. The problem is twofold. The show tweaks and contorts itself so hard to get those laughs that the whole thing feels forced and unmanageable for two consecutive episodes, much less a season. And secondly, the premise is unlikely to hold up for any length of time.
    • 56 Metascore
    • 50 Tim Goodman
    The Whole Truth, which airs opposite "The Defenders" on ABC, is less lousy.
    • 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.
    • 70 Metascore
    • 50 Tim Goodman
    It's a rote cop show, but in the last five minutes or so, it hints at something deeper.
    • 57 Metascore
    • 50 Tim Goodman
    The real problem with "Justice" is that the series is very average.
    • 64 Metascore
    • 50 Tim Goodman
    It doesn’t really work out well enough as a concoction, unfortunately, as characters continuously choose one bad option after another, further complicating their already troubling situation and thus creating more pandemonium.
    • 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.
    • 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.
    • 54 Metascore
    • 50 Tim Goodman
    Not nearly as ambitious as "Life on Mars" but entertaining nonetheless.
    • 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.
    • 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.
    • 67 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.
    • 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.
    • 65 Metascore
    • 50 Tim Goodman
    Preposterous ideas know no bounds on "Prison Break."
    • 48 Metascore
    • 50 Tim Goodman
    Creatively, it’s just a middling mess--something so average that a basic cable channel could have duplicated it without all the foreign travel for about $84 million less.
    • tbd Metascore
    • 50 Tim Goodman
    There seems to be little here in the way of memorable characters outside of Danson's angry doctor, and even his misanthropic outlook (leavened, of course, by a heart, which is mandatory in formulaic comedy) gets tiring. Still, when he's on, Danson is good.
    • 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.
    • 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?
    • 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.
    • 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.
    • 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.
    • 56 Metascore
    • 50 Tim Goodman
    Ascension has tons of potential and meets a little more than half of it in this early going.
    • 65 Metascore
    • 50 Tim Goodman
    A bloated mess. ... "Carnivale" is a little too full of itself. Believing that it has a fascinating story to tell with all the complex themes you could imagine, the series nevertheless fails the first test of television: Move forward.
    • 48 Metascore
    • 50 Tim Goodman
    A very good idea but executed in the pilot with too much sap and manipulation.
    • 37 Metascore
    • 50 Tim Goodman
    In FX's Testees, viewers get a good premise gone sophomorically sideways.
    • 60 Metascore
    • 50 Tim Goodman
    It's a nice gimmick, actually. Too bad the results seem so childishly undeveloped.
    • 62 Metascore
    • 50 Tim Goodman
    Perhaps the worst offense by 666 is that it's not even an ounce scary.
    • 37 Metascore
    • 50 Tim Goodman
    Can we negotiate for a better premise if we release some hostages?
    • 66 Metascore
    • 50 Tim Goodman
    Hawaii Five-O is nothing but entertainment. It's eye candy.
    • tbd Metascore
    • 50 Tim Goodman
    At some point, however -- and that point is the first episode in this fourth season -- it all becomes too much, too arch, too ridiculous and trying and forced. Worse, perhaps, is the sense that not enough effort has been put in, not enough of the tightrope-walking brilliance of the first three seasons shines through.
    • 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.
    • 53 Metascore
    • 50 Tim Goodman
    The main action is pretty much standard soap fare.
    • 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.
    • 28 Metascore
    • 50 Tim Goodman
    You might not remember to record it every week, but if you stumble upon it, you might stay.
    • 61 Metascore
    • 50 Tim Goodman
    Bad, then decent, then confusing. That's not exactly the trajectory you're looking for in a pilot.
    • 47 Metascore
    • 50 Tim Goodman
    Not nearly as good or as complex as "Justified" on FX, but it's a decent hour of mindless entertainment.
    • 72 Metascore
    • 50 Tim Goodman
    After watching the first four episodes, it's clear that despite the familiar adrenaline rush and a (temporarily) tighter rein on the ridiculous, 24 hasn't changed much at all.
    • 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.
    • 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.
    • tbd Metascore
    • 50 Tim Goodman
    Despite a wonderful cast (Dana Delany, Martin Donovan, Balthazar Getty, Natasha Gregson Wagner), Pasadena just sits there, as boring and smoggy as the city it's named after. Producers say they'll ratchet up everything in the second episode, but they always say that.
    • 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.
    • 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.
    • 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
    • 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.
    • 45 Metascore
    • 50 Tim Goodman
    The Prisoner is not compelling. It rambles too much. Its vagaries are not interesting, its unorthodox storytelling not special enough.
    • 53 Metascore
    • 50 Tim Goodman
    "Huff" got too heavy, and too predictable in its moroseness. Lying on the couch for more seems unnecessarily depressing.
    • 60 Metascore
    • 50 Tim Goodman
    Some of it works, much of it doesn't.
    • 53 Metascore
    • 50 Tim Goodman
    The pilot is very spotty.
    • 67 Metascore
    • 50 Tim Goodman
    The spy story, wartime bullets and intrigue carry The Company, though the writing and story are unnecessarily obvious.
    • 54 Metascore
    • 50 Tim Goodman
    It's not compelling at all.
    • 42 Metascore
    • 50 Tim Goodman
    It all begins to feel like forced gobbledygook--like "Without A Trace" had a bad date with "Ghost Whisperer."
    • 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.
    • 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.
    • 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.
    • 41 Metascore
    • 50 Tim Goodman
    It's solid for what it is, despite the worrisome gimmick and sometimes obvious story.
    • 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.
    • 42 Metascore
    • 50 Tim Goodman
    It's beige on beige, people.
    • 60 Metascore
    • 50 Tim Goodman
    This is a paint-by-numbers legal series that's as predictable as they come.
    • 70 Metascore
    • 50 Tim Goodman
    It's nothing David Lynch hasn't crossed out and done better, but at least it's different. Most viewers won't play the game, but if you're interested, write down every number you see, call phone numbers you notice and pay attention to things that mysteriously change.
    • 70 Metascore
    • 50 Tim Goodman
    The pilot is so packed with nauseating moments meant for shock value that only the most desperate of viewers will get to the second episode in search of something, well, a little less wince-inducing.
    • 45 Metascore
    • 50 Tim Goodman
    [It] ultimately succumbs to being an inferior story on a broadcast network that can't even remotely match two far better cable series ["The Sopranos" and "Brotherhood"].
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 44 Metascore
    • 50 Tim Goodman
    There's a little "Everybody Loves Raymond" here, and that's not a bad thing.
    • 36 Metascore
    • 50 Tim Goodman
    Even though In the Motherhood may have universal appeal, overly familiar premises can lead to lameness, so ABC better hope the rest of the episodes play more like the one on Thursday and less like the one a week later.
    • 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.
    • 62 Metascore
    • 50 Tim Goodman
    The series still can't get liftoff because it seems like a limp copy.
    • 72 Metascore
    • 50 Tim Goodman
    There is something too pat, too telegraphed in "Invasion" to rile up the blood.
    • 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.
    • 72 Metascore
    • 50 Tim Goodman
    The decline of '24' is almost as harrowing as one of its patented pulse-pounding dramatic moments. ... Maybe '24' won't be so head-slappingly ludicrous this time around, but the first two episodes do little to give cynics reason for hope. [27 Oct 2003]
    • San Francisco Chronicle
    • 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.
    • 39 Metascore
    • 50 Tim Goodman
    There's much to recommend in "Thank God You're Here!," but the show could be vastly improved by giving viewers at home a little more credit.
    • 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.
    • 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.
    • 70 Metascore
    • 50 Tim Goodman
    It's traditional sitcom fodder. But what makes The Middle a pleasant surprise is that the series itself is eccentric and funny in unexpected ways, not just the kids.
    • 66 Metascore
    • 50 Tim Goodman
    For all the effort that was put into making Canterbury complicated, not nearly enough quality control was put into the writing.
    • 67 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.
    • 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.
    • 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.
    • tbd Metascore
    • 50 Tim Goodman
    The problem with Do Over is that the series hasn't exactly found any great ideas to run with. Instead, we get the same familiar topics you could probably come up with in five minutes yourself while ironing.
    • 71 Metascore
    • 50 Tim Goodman
    Ultimately, everybody's affable in this series. There are no sharp right angles, no emotional elbows.
    • 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.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 40 Tim Goodman
    Creators Adam Cooper and Bill Collage might have wanted to sex-and-violence up the most famous black book ever, but they end up just creating a bunch of silliness, full of shepherd bro talk and sexy Old Testament flirting. They are not aided by the television tradition known as Every Historic Tale Must Be Played by British Actors.
    • 36 Metascore
    • 40 Tim Goodman
    The point is, a bunch of good actors are stuck in a sitcom that has limited appeal.
    • 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.
    • 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
    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.
    • 44 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.
    • 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.
    • 68 Metascore
    • 40 Tim Goodman
    Davis is riveting throughout.... Unfortunately, Murder has a number of flaws.
    • 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.
    • 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.
    • 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.
    • 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.
    • tbd Metascore
    • 40 Tim Goodman
    Marseille, the Gerard Depardieu-led Netflix series that dropped all eight episodes on Thursday, is not very good. In many spots, it's terrible.
    • 75 Metascore
    • 40 Tim Goodman
    Ultimately it’s very purple in its prose, yearning to be film noir, but--lacking the writing or grit to achieve that--playing more like hokey blood porn.
    • 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.
    • 45 Metascore
    • 40 Tim Goodman
    The whole thing quickly becomes hokey and a grind. Blame goes consistently to the writing.
    • 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.
    • 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.
    • 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
    • 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.
    • 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.
    • 46 Metascore
    • 40 Tim Goodman
    When the series works it's when Long and Hornsby invest their characters with counter-intuitive hope and positivity.
    • 65 Metascore
    • 40 Tim Goodman
    Great shows don't have to be this eager and this sloppy and this obvious. TNT will need to make Animal Kingdom improve significantly over the next several episodes if the series wants a shot at survival.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 38 Tim Goodman
    One of those series that looks great on paper but ends up less-than-thrilling on the screen.
    • 48 Metascore
    • 38 Tim Goodman
    The first episode is moody and violent but not particularly frightening. The second is psychobabble nonsense without much suspense.
    • 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.
    • 40 Metascore
    • 38 Tim Goodman
    The whole series just misses its mark -- despite that mark being one of the fattest, ripest targets imaginable.
    • 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.
    • 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.
    • 40 Metascore
    • 30 Tim Goodman
    With no other likable characters and a thin premise, Allen Gregory seems as one-dimensional as the animation.
    • 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
    • 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.
    • 47 Metascore
    • 30 Tim Goodman
    Working is filled with bad jokes you can see coming from a country mile.
    • 68 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.
    • 43 Metascore
    • 30 Tim Goodman
    The Player is basically absurd with a dollop of stupid on top and a whole bunch of empty tossed in for filler. Yes, empty can be filler.
    • 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.
    • 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.
    • 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.
    • 65 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).
    • 50 Metascore
    • 30 Tim Goodman
    As much as I don't like it, I pretty much love the whole cast.
    • 59 Metascore
    • 30 Tim Goodman
    It's a laborious, cliched bit of retread television.
    • 47 Metascore
    • 30 Tim Goodman
    The pilot is a messy clunker that will test the patience of Crowe's core fans; the second, written by Winnie Holzman, one of the executive producers along with J.J. Abrams, Bryan Burk and Len Goldstein, is a more assured and coherent effort that still falls short of digging out of the hole created by the pilot; and the third episode is sadly terrible, the kind of hour filled with bad decisions and triteness that offers little hope for a creative recovery going forward.
    • 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.
    • 35 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.
    • 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.
    • 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.
    • 73 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.
    • 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.
    • 51 Metascore
    • 30 Tim Goodman
    Backstrom is pretty bad on a number of levels and can't ultimately be forgiven for wasting Dennis Haysbert.
    • 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).
    • 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.
    • 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.
    • 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
    • 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.
    • 58 Metascore
    • 30 Tim Goodman
    The Crazy Ones is part manic and part maudlin, neither emotion effective.
    • 53 Metascore
    • 30 Tim Goodman
    CBS's The McCarthys manages to be unfunny, dated and stereotypical all in under a half-hour.
    • 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.
    • 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
    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.
    • 42 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.
    • 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.
    • 71 Metascore
    • 30 Tim Goodman
    Nine years later, The Comeback is back, as unwatchable and unfunny as the first time around.
    • 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.
    • 48 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
    A pilot that is, at best, flawed, and, at worst, messy-bad.
    • 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.
    • 38 Metascore
    • 30 Tim Goodman
    Nothing in the first two of these trite NBC versions makes you want to continue with the others.
    • 48 Metascore
    • 30 Tim Goodman
    It's all cheap, easy, predictable and not very clever.
    • 58 Metascore
    • 30 Tim Goodman
    Beyond feeling like it’s a flippant NBC comedy, Grace and Frankie also feels very 1999.
    • 48 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.
    • 29 Metascore
    • 25 Tim Goodman
    The jokes in "Twenty" are both predictable and telegraphed.
    • 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.
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 25 Tim Goodman
    It's all soapy nonsense with emotional entanglements underscored by catchy and moving pop songs.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 38 Metascore
    • 25 Tim Goodman
    The Deep End is stupid. It is obvious and ridiculous and badly acted for the most part.
    • 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.
    • 39 Metascore
    • 25 Tim Goodman
    You won't really want to spend another hour with these people.
    • 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.
    • 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.
    • 28 Metascore
    • 25 Tim Goodman
    Face it, $#*! My Dad Says was a bad idea from inception to pilot.
    • 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.
    • 35 Metascore
    • 25 Tim Goodman
    It's a complete wince-inducing mess that makes you feel sorry for Shannon and annoyed at NBC and Nader.
    • 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.
    • 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.
    • 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.
    • 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!
    • 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.
    • 45 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.)
    • 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."
    • 61 Metascore
    • 25 Tim Goodman
    The series is flat-out tone deaf; a limp drama and a grating, messy misfire as a comedy.
    • 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.
    • 32 Metascore
    • 25 Tim Goodman
    A monumental waste of time.
    • 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.
    • 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.
    • 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.
    • tbd Metascore
    • 25 Tim Goodman
    Despite Cromwell's fine acting, there's only one thing to say about Citizen Baines: Babe, this show is a dog.
    • 64 Metascore
    • 25 Tim Goodman
    It's as rote and unfunny and ridiculous as hundreds of other ambitionless sitcoms to hit the air.
    • 25 Metascore
    • 25 Tim Goodman
    Hawaii isn't half as cool as "Hawaii Five-O," nor nearly as frothy fun as "Magnum P.I." What it amounts to, in an ocean of really good cop shows across the dial, is a retro failure built around people you don't really care about saying stupid things you can't muster enough interest to snicker over.
    • 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).
    • 43 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.
    • 54 Metascore
    • 25 Tim Goodman
    The trouble with Castle is that it's just so completely fluffy - which is annoying.
    • 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.
    • 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.

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