For 938 reviews, this critic has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 3.9 points lower than other critics. (0-100 point scale)

Tim Goodman's Scores

Average review score: 63
Highest review score: 100 Flight of the Conchords: Season 2
Lowest review score: 0 Mixology: Season 1
Score distribution:
938 tv reviews
    • 73 Metascore
    • 80 Tim Goodman
    The pacing, the writing, the directing all contribute to making Thirteen seem unusually fresh within the framework of a familiar story, but there's no getting around the fact that Comer, as Ivy, absolutely seizes the opportunity here to be daring.
    • 51 Metascore
    • 10 Tim Goodman
    American Gothic is about a bunch of good actors who got suckered into a really bad series.
    • 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.
    • 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.
    • 86 Metascore
    • 90 Tim Goodman
    Early episodes of season four are as compelling and entertaining and as well-written and acted as they have been for the past three, which is a tremendous achievement (particularly if it holds--which is likely, but not guaranteed).
    • 88 Metascore
    • 90 Tim Goodman
    Season two proves emphatically (having seen six of the 10) that the first was no fluke.
    • 46 Metascore
    • 20 Tim Goodman
    I was bored senseless within the aforementioned 15 minutes. I got through the first episode but could not tolerate the effort it was taking to slog through the second.
    • 84 Metascore
    • 80 Tim Goodman
    The Dresser may not be for everyone. It's intimate--in the sense of being both small and intensely personal; it taps into a niche (these are not movie stars); it's all about the power of Shakespeare; it reads, despite the flourishes that Eyre makes as a director to keep it dimensional, as a play shot as a TV movie; and its pacing is odd, but enjoyable.
    • 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.
    • 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.
    • 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.
    • 88 Metascore
    • 100 Tim Goodman
    Veep doesn't just feel like it's firing on all cylinders, it feels invigorated and out to prove something. And that's potentially bad news for other comedies, but the best news for viewers.
    • 90 Metascore
    • 100 Tim Goodman
    Season three comes out of the gates on April 24 so furiously the assured sense of self is almost breathtaking.
    • 82 Metascore
    • 80 Tim Goodman
    In season two, much of the same goofiness that killed you in season one is back.
    • 80 Metascore
    • 80 Tim Goodman
    Keeping it in the family, so to speak, could rejuvenate Orphan Black if you thought it maybe needed it. For everybody else who remained joyfully entertained by the story and by Maslany's many roles, this slight rejiggering does clear up some distractions and brings back fond memories of season one when this show was such a revelation.
    • 73 Metascore
    • 80 Tim Goodman
    [A] gripping, smartly written, dark and beautifully directed new French series.
    • 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.
    • 85 Metascore
    • 80 Tim Goodman
    here are odd time jumps and plot movements here and there that really prove how much that voiceover narration from Claire is really needed. Not all of these are good things. ... They are not deal-breakers, exactly, but it will be interesting to see if season two can match (or exceed) the lofty achievements of season one. Perhaps the important thing to know is, despite these shifts, Outlander remains as sweeping and addictive as ever, which goes a long way.
    • 87 Metascore
    • 100 Tim Goodman
    Your leader in the clubhouse for comedies in 2016 is Catastrophe on Amazon. ... There is much to love here. There is arguably more to love than last season, which seems almost inconceivable.
    • 78 Metascore
    • 80 Tim Goodman
    Keough's outstanding performance makes the whole thing work, make no mistake. But Kerrigan, Seimetz and Meizler weave a visually evocative backdrop, using only natural light, location-based shooting and a color scheme that allows for the intimacy of the writing to come out and help shape things.
    • 59 Metascore
    • 60 Tim Goodman
    The first three episodes are good if a little erratic, but that's true of most sitcoms.
    • 59 Metascore
    • 30 Tim Goodman
    It's a laborious, cliched bit of retread television.
    • 70 Metascore
    • 90 Tim Goodman
    There's a lot to like about The Path, from the strong visual sense of place that director Mike Cahill established in the first two episodes to its theoretical take on faith, and of course the exquisite acting and deft writing.
    • 84 Metascore
    • 80 Tim Goodman
    Revisiting the series and overcoming the early obstacles was, indeed, rewarding. Not every plot twist is original or even believable, but the second season only solidifies how impressive the whole Happy Valley world is.
    • 95 Metascore
    • 100 Tim Goodman
    It’s a good thing that viewers can’t immediately binge-watch FX’s The Americans, arguably the best ongoing series on television, because there are moments in the first four episodes where it feels like there’s a vice tightening on your chest. And there’s a perfectly reasonable explanation for that feeling: The first four episodes (that’s how many were made available to critics) are among the best the series has ever done.
    • 44 Metascore
    • 20 Tim Goodman
    A new sitcom on NBC that feels like it aired in the early 1990s and is a huge disappointment and groaning mistake.
    • 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.
    • 58 Metascore
    • 10 Tim Goodman
    There is so much wrong with the manipulative, poorly written and executed ABC drama The Family, it's difficult to know where to begin.
    • 75 Metascore
    • 70 Tim Goodman
    Bolstered by a stacked roster of very capable British actors, Simm, Glenister and Cavaliero go a long way toward helping you not worry about wasting your time. Whatever pitfalls might pop up in the writing, the performances are racing forward full-steam.
    • 73 Metascore
    • 70 Tim Goodman
    This season’s determination to be bleak and honest isn't as pleasurable. The series is very good at what it does, but I can’t help thinking that more Gonzaga, Peet and Gallagher--in upbeat story form--would go exceptionally well with less dire versions of the excellent Lynskey, Zissis and Duplass.

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