For 907 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 4 points lower than other critics. (0-100 point scale)

Tim Goodman's Scores

Average review score: 63
Highest review score: 100 Veep: Season 6
Lowest review score: 0 Fear Factor: Season 1
Score distribution:
907 tv reviews
    • 77 Metascore
    • 80 Tim Goodman
    The series begins to find its pacing not long after, and we see the strength of Moura’s acting, which to his credit never races, in the early going, toward over-the-top menace or the drug-lord cliches we're all used to at this point. Credit also the fact that Padilha brings a documentary feel to Narcos.
    • 67 Metascore
    • 80 Tim Goodman
    She is all over the map and that's precisely what's refreshing about her. What the world needs now is not another over-stylized, super-slick talk show.
    • 80 Metascore
    • 80 Tim Goodman
    The Challenger Disaster adeptly uses its story time by leaning on Hurt to at once capture Feynman’s brilliance and captivating personality while also showing that Feynman’s own sense of compressed mortality and his adherence to scientific truth helped stop what could have been a whitewash.
    • 83 Metascore
    • 80 Tim Goodman
    Seriously, one day, NBC will be run like a real network--and bask in the fact that our Pawnee pals have returned, and there are plenty of excellent episodes in store.
    • 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.
    • 79 Metascore
    • 80 Tim Goodman
    Better Things isn't groundbreaking when judged merely as a single-mom sitcom, but it finds its freshness in how Adlon examines it in her personal world; the stories and struggles are familiar even though they are contained within a world most people aren't part of, and she makes whatever daily struggles she faces with her family relatable.
    • tbd Metascore
    • 80 Tim Goodman
    Mostly Moone Boy is a coming-of-age story for a kid probably not yet equipped to battle the real world. But there’s so much humor and sweet-but-not-sacharrine moments (and absurdity), that it’s the kind of coming-of-age story you can’t wait to see Martin (and O’Dowd) experience together.
    • 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.
    • 76 Metascore
    • 80 Tim Goodman
    What works in the early going of season two is that the fall is almost always more thrilling, if not engaging, than the buildup. Escobar senses the loss of power and Moura does some of his best work as viewers read the worry and interior thinking on his face.
    • 72 Metascore
    • 80 Tim Goodman
    As it stands after two entertaining episodes, there's a lot that Agent Carter can do going forward. It already feels like a series, and if it can keep that up--plus highlight the hell out of Hayley Atwell--then a second season should come easy.
    • 55 Metascore
    • 80 Tim Goodman
    It has chills and humor and the ability to take a procedural story and twist it.
    • 77 Metascore
    • 80 Tim Goodman
    It's not a perfect pilot; most sitcoms aren't. But, like a precious few others, you can see that everyone involved is funny and connected to the concept.
    • 83 Metascore
    • 80 Tim Goodman
    There's an obvious familiarity to the subject matter, but with National Treasure, Thorne never makes it seem rote, boring or insignificant.
    • 66 Metascore
    • 80 Tim Goodman
    All six of the Katydids pop with strong comedic performances in Teachers, giving you faith that there will be no lag in this 10-episode first season. And the series also benefits greatly from casting kids who aren’t annoying and also knowing how often to employ them in the jokes.
    • 77 Metascore
    • 80 Tim Goodman
    Even past the halfway point (Amazon made the first six episodes available to critics), The Man in the High Castle is still refreshingly intriguing and worth the investment.
    • 67 Metascore
    • 80 Tim Goodman
    While all the philosophical, existential and surprisingly intimate moments of their friendship are the wonderfully surprising backbone to Wilfred, the hook is the absurdist situations and brilliant humor.
    • 63 Metascore
    • 80 Tim Goodman
    House of Lies is giving him (and the rest of the actors) something fresh and different to devour, which makes it a show you need to consult with.
    • 67 Metascore
    • 80 Tim Goodman
    This isn’t look-at-me journalism with a fitted Gap t-shirt. It’s more of a holy-hell-can-you-believe-this approach that fights perfectly on a cable channel trying to do something different.
    • 65 Metascore
    • 80 Tim Goodman
    Blindspot (not the title you’d expect or hope for when your series is about a woman covered in tattoos) has more than enough going for it early on, despite some real bouts of silliness, that it’s one of those few and elusive pilots that can be endorsed for at least initial evaluation. The reward for spending an hour is mostly worth it.
    • 75 Metascore
    • 80 Tim Goodman
    Fresh Off the Boat finds jokes in plenty of other, non-racial issues, and that’s often the bonus that gives you confidence this is a show with legs.
    • 64 Metascore
    • 80 Tim Goodman
    It’s fun, it’s entertaining, it’s got some scares and some action and plenty of secrets to unveil.
    • 72 Metascore
    • 80 Tim Goodman
    This kind of limited series is a step in the right direction. And it sure helps that the first hour is intriguing as hell and filled with a lot of storytelling promise. If viewers catch the pilot, they’ll be back for the next episode. Some critics, too.
    • 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.
    • 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.
    • 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.
    • 82 Metascore
    • 80 Tim Goodman
    Darabont uses the TV-series format to break convention not only by defying the predictabilities of the horror genre (boo!) but also by infusing the recipe with more storytelling elan.
    • 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).
    • 73 Metascore
    • 80 Tim Goodman
    Coppola and Schwartzman, who has a great cameo about a reporter doing a podcast, dole out just enough in these half-hour episodes to keep it light, funny and (by the fourth episode) a bit more brazenly quirky, while also not losing touch with the story's core--which is the music.
    • 66 Metascore
    • 80 Tim Goodman
    Some of [the often simple but absurd comedy] was lighter in spots than others, but the series has a very distinctive comedic voice and a striking visual approach that it keeps up through the episodes
    • 68 Metascore
    • 80 Tim Goodman
    Going into Season 2, the acting performances are the primary reason to tune in.

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