For 908 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 Guerrilla
Lowest review score: 0 The Loop: Season 1
Score distribution:
908 tv reviews
    • 90 Metascore
    • 90 Tim Goodman
    Its simplicity and execution are shockingly self-assured as it avoids being pigeonholed.
    • tbd Metascore
    • 90 Tim Goodman
    When a show makes the grade for a second season and has no loss of either ambition or ingenuity, it's time to get on board.
    • 88 Metascore
    • 90 Tim Goodman
    Season two proves emphatically (having seen six of the 10) that the first was no fluke.
    • 78 Metascore
    • 90 Tim Goodman
    It's too early to really judge Americans against Homeland, but if the latter is getting away from what hooked you in the first place, then you might find what you're missing on Americans.
    • 75 Metascore
    • 90 Tim Goodman
    Archer proves exactly why it's been so great since the beginning: Smart writing, great voice cast, cool animation and, just so you understand, still more smart writing.
    • 72 Metascore
    • 90 Tim Goodman
    The Rashomon-style storytelling takes a bit to get used to, and the sometimes feverish flow of the jokes (which fans may remember from the hall-of-fame first three seasons) struggle to unleash themselves in the first couple of episodes, but then it snowballs into seven-and-a-half hours of hilarity just waiting for a movie to follow it up.
    • 78 Metascore
    • 90 Tim Goodman
    While Soundbreaking is not the kind of linear, molecular reconstruction of history that Ken Burns might have made--the series veers off on non-chronological detours and then bounces back--it's always riveting.
    • 92 Metascore
    • 90 Tim Goodman
    All told, Transparent is a surprisingly poignant, funny and mature piece of work.
    • 79 Metascore
    • 90 Tim Goodman
    It constantly offers more than you expect, and even when it delivers something either predictable or straight from the “women’s prison drama” handbook, it then counters with something fresh or unexpected.
    • 67 Metascore
    • 90 Tim Goodman
    Not only is the pilot a wonderful mix of hilarious moments (pretty much any time Faxon is in the picture) and subtle sentiment, but it's one of those shows where the acumen of the off-camera talent (Fox) is impressive and clear, which gives hope for long-term success.
    • 76 Metascore
    • 90 Tim Goodman
    Gomorrah is dark--both in tone and how it was shot--and it requires concentration on the subtitles, but it's also completely riveting and worth the effort as Italy steps up, via Sundance TV, to prove we don't have a lock on quality dramas.
    • 76 Metascore
    • 90 Tim Goodman
    It's an absolute gem, delightful and thoughtful, serious, sad and also ridiculously funny. It's one of those series that ultimately bites off a bit more than it has time to deliver on, but it's never short on ambition and the talent to pull most of it off.
    • 82 Metascore
    • 90 Tim Goodman
    Hawley's decision to disorient viewers by making David's unsettling and confusing mental landscape the visual launching point for this world is strategically smart--if challenging--and the skillful camera work has a panache that stamps the early episodes. Stylistically, there's nothing quite like Legion's smart take on mutant powers, which keeps the series more dramatic and less light or flippantly Marvel-esque.
    • 87 Metascore
    • 90 Tim Goodman
    The larger point is that, with all this character growth continuing, the already superb Better Call Saul is in a position to take its biggest creative leap yet. It's not a surprise that we will eventually get to Jimmy McGill becoming Saul Goodman, but it's certainly surprising just how heartbreaking that transformation has become.
    • 89 Metascore
    • 90 Tim Goodman
    The first three episodes of Season 3 indicate there has been no slippage at all, but rather a digging in of the philosophy at hand.
    • 84 Metascore
    • 90 Tim Goodman
    The series is excellent, absorbing and addictive. When each episode ends, you long for the next--a hallmark of great dramas.
    • 90 Metascore
    • 90 Tim Goodman
    The dialogue remains as pin-prick sharp as usual, with that clever mix of directness and humor.
    • 74 Metascore
    • 90 Tim Goodman
    It’s certainly an intriguing pilot--you can’t take your eyes off of Spader and the writers have thrown in a couple of other interesting twists.
    • 85 Metascore
    • 90 Tim Goodman
    While a miniseries might have truly been something to behold--allowing the slow helplessness to really penetrate viewers, there’s something to be said about making a big, loud noise and getting the message out--again. In that sense, both Murphy and Kramer do the play justice (as you would expect) and have created a powerful modern history reminder for those too young to understand the all-too-recent past.
    • 78 Metascore
    • 88 Tim Goodman
    "Friday Night Lights" is not good. It's great.
    • 72 Metascore
    • 88 Tim Goodman
    A very original, extremely well-acted and complexly written drama.
    • 81 Metascore
    • 88 Tim Goodman
    What helps separate "The Nine" from others in this season's crowded field are stellar performances throughout and a steady, sure hand in the pilot.
    • 64 Metascore
    • 88 Tim Goodman
    A winning, extremely funny new sitcom.
    • 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.
    • 75 Metascore
    • 80 Tim Goodman
    It’s a serious work of television that is angling to dramatize numerous weighty subjects, and isn’t overly concerned with distracting the audience with shiny objects in the process.
    • 83 Metascore
    • 80 Tim Goodman
    Fellowes has a stronger hold on telling the individual tales of his well-drawn characters, and that pinpoint focus utterly redeems the series early on.
    • 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.
    • 70 Metascore
    • 80 Tim Goodman
    Logan, who has written each of the eight episodes, and director J.A. Bayona (who cements the overall look and feel of the series) keep things intriguing and fresh, fearful and entertaining. The characters are so vastly different from one another but mix well.
    • 73 Metascore
    • 80 Tim Goodman
    Humans finds a way to bring intrigue to a very familiar conflict.
    • 74 Metascore
    • 80 Tim Goodman
    Where Westworld is at its best is in the deeper issues that will unspool slowly, like a good mystery. Early episodes are adept at getting at the base attractions of the park and why people would come, but also in setting up a sense of confusion about motives. ... The series benefits from a number of standout performances.

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