For 703 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 2.1 points lower than other critics. (0-100 point scale)

Tim Goodman's Scores

Average review score: 62
Highest review score: 100 Lost: Season 5
Lowest review score: 0 The Loop: Season 1
Score distribution:
703 tv reviews
    • 68 Metascore
    • 80 Tim Goodman
    The first two hours go at a brisk, thrilling pace that allows for character development as well. A lot happens and there's a desire for more.
    • 73 Metascore
    • 80 Tim Goodman
    There's a nice balance of humor (Groff in particular gets to milk the comedy) and emotional drama coursing through it (like Girls, which makes a fine pair for it on Sundays).
    • 62 Metascore
    • 80 Tim Goodman
    Directed with aplomb by Mat Whitecross, who periodically decides, in the course of this four-hour feast, to stop making a movie about a man and instead make a Bond movie, Fleming is the kind of movie that winks at you constantly and you never get annoyed by the intimations.
    • 80 Metascore
    • 80 Tim Goodman
    House of Cards is pretty much the same show it settled into less than midway through its first run. It's entertaining and cruises along with a strong pulse.
    • 74 Metascore
    • 80 Tim Goodman
    Over the course of six hours it delivers bold, cinematic on-location action, announces itself with sweeping, dramatic dialogue (admittedly, not for everyone) and scatters excellent acting across the small screen.
    • 82 Metascore
    • 80 Tim Goodman
    This very first episode has so much information in it that the first 15 or so minutes seem like a study course and might prove slow to some folks as Tyson diligently starts explaining the solar system piece by piece. But Cosmos picks up with the help of executive producer Brannon Braga’s sci-fi touches and some early animation that follows the plight of Giordana Bruno.
    • 65 Metascore
    • 80 Tim Goodman
    The pilot is funny, Meloni holds the whole thing together and even the voice over works--despite there needing to be, at the very least, a five season moratorium on that little conceit.
    • 71 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.
    • 69 Metascore
    • 80 Tim Goodman
    The good news is that Halt and Catch Fire is a triumphant pilot with excellent writing, impressive acting and a noteworthy cinematic visual style. ... But ultimately that means nothing until we see the next episode. And the one after that. And the one after that. So take this early praise with that caveat.
    • 65 Metascore
    • 80 Tim Goodman
    If Lindelof and Perrotta can somehow strike a balance of the human, emotional fallout while also delving into an explanation of the oddities involved in "the sudden departure," then The Leftovers could be one of the more riveting new series.
    • 72 Metascore
    • 80 Tim Goodman
    Welcome to Sweden knows the story it wants to tell, and it does so in tightly crafted half-hour blocks that are fjords full of charm.
    • 78 Metascore
    • 80 Tim Goodman
    Created and written by Sam Shaw (Masters of Sex), and directed superbly by veteran Thomas Schlamme (The West Wing), Manhattan kicks off with two gripping episodes that highlight a strong cast.
    • 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.
    • 47 Metascore
    • 80 Tim Goodman
    Credit Morgan, the original source material of the book (there is some deviation, according to Morgan) and BBC America for crafting an instantaneously addictive piece of television.
    • tbd Metascore
    • 75 Tim Goodman
    Yes, there's a lot less walking and talking. There is a limited amount of witty banter -- precisely enough so people not paying too much attention will never notice it's gone. What has increased... is heavy emotion a la "ER."
    • tbd Metascore
    • 75 Tim Goodman
    This is an everyman series, and James knows just how to sell that to the masses. The writing is sharp, and the oddball fringe characters (particularly Patton Oswalt) flesh out the show.
    • tbd Metascore
    • 75 Tim Goodman
    The entire cast is superb, and the actors seem comfortable in the groove the show has cut for itself. The writing is consistently sharp and focused. Most important, however, it has just the right sprinkling of obnoxiousness and cuteness.
    • 89 Metascore
    • 75 Tim Goodman
    Just when it seemed that "Curb Your Enthusiasm," the crotchety, disdain-filled embarrassment of absurdities, was going to lose its way, Larry David seems to have found a new batch of wince-inducing scenarios to mine his comedy. [7 Sep 2007]
    • San Francisco Chronicle
    • 83 Metascore
    • 75 Tim Goodman
    '24' keeps you on edge like no other series. [28 Oct 2002]
    • San Francisco Chronicle
    • 79 Metascore
    • 75 Tim Goodman
    Season 6 proves that the best part of "24" is its ability to make your pulse race as you sit slack jawed in front of the bastard machine mumbling, "They didn't just do that, did they?"
    • 75 Metascore
    • 75 Tim Goodman
    A show that does what it's supposed to do -- keep you riveted and entertained. [25 Sep 2002]
    • San Francisco Chronicle
    • 69 Metascore
    • 75 Tim Goodman
    What's partly holding "CSI: Miami" back from being great is that, as in the original "CSI," the whole premise is too pat.
    • 75 Metascore
    • 75 Tim Goodman
    There are moments when events become too pat or get too cute. Occasionally the show mysteriously falls into a rut of old cop-show cliches. But those times are few, fading from memory because there's enough potential and quality elsewhere to make you forgive and forget.
    • tbd Metascore
    • 75 Tim Goodman
    "Crank Yankers" is far better than expected. Not everything works -- remember, there's a lot of juvenile stuff here and bits where you'll roll your eyes -- but sometimes even the stupidest setup becomes hilarious merely by the graciousness of the person being duped on the other end of the line.
    • tbd Metascore
    • 75 Tim Goodman
    "The Surreal Life" is so bad it's good. Really bad. And really good.
    • 80 Metascore
    • 75 Tim Goodman
    It's a wonderful series that gets better every hour you watch it. ... But there's the catch. "Deadwood" is a slow starter.
    • 70 Metascore
    • 75 Tim Goodman
    Who knew that the mom in "Spy Kids" would get one of the best female character roles on TV and helm one of the season's biggest dramatic surprises.
    • 51 Metascore
    • 75 Tim Goodman
    While it's true that television has been overloaded with acronyms lately and the redundant, long and confusing Navy NCIS is an egregious offender, it's also true that television is exploding with quality dramas and this is another of them.
    • 66 Metascore
    • 75 Tim Goodman
    One thing is certain -- Kathryn Morris is going to be a star. Whether her starring vehicle ever catches up to or captures her potential is another thing.
    • 74 Metascore
    • 75 Tim Goodman
    It’s clear, then, that the allure and the annoyance of the series rest in the same area. FX gets “Nip/Tuck” to stand out in a crowded field by being provocative both under the knife and under the sheets. Sex and surgery are the draw, but the acting, the emotional battlegrounds and even the issues raised are ultimately the reasons the series excels.