Time's Scores

For 506 reviews, this publication has graded:
  • 38% higher than the average critic
  • 9% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 1.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Louie: Season 4
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 306
  2. Negative: 0 out of 306
306 tv reviews
  1. What’s most compelling about The Bridge is that it emphasizes not the psychology or forensics of the case but its context.
  2. Yes, satirizing the suburbs is an age-old theme in entertainment, but Suburgatory feels like it's thought through what specifically there is to say about the burbs of 2011. And so far, I like the way it says it.
  3. In its early hours, Last Resort lays in enough plot and character provisions to potentially last a long, long journey.
  4. The dialogue's still pulpy, but its action story is the bomb.
  5. Over the first four episodes, Family Tree doesn’t have the gut-busting, excruciatingly funny moments of Guest’s movies--no Stonehenge here--but it adds a warmth to the usual pathos of his characters, and O’Dowd’s hangdog charm is a good match for the story.
  6. VR.5 is a science-fiction TV show that Patricia Highsmith might have written. For all its vividly colored effects, it is above all an exploration of the unsolved mysteries of Sydney's interior life.
  7. As a whole, Treme is a kind of intimate, loose, indie-film version of TV, its various stories almost an anthology connected by musical moments.
  8. An imaginative departure from the sea of indistinguishable sitcoms on the networks this fall.
  9. It's not a movie for music geeks, in the sense of unpacking the band's influences or closely analyzing how their songs worked. Instead it links the music to the members' stories, trying to capture how the electricity of the group's personalities created art. It's not a revelation, but it's an intimate story of the band.
  10. The Killing itself is a slow burn, or rather drizzle. Three episodes in, I can tell you that I'm drawn in by the characters and eager to see a fourth; I can't guess whether the story is finally going to be satisfying, and the show is deliberate and sparing in parceling out details on the case.
  11. Nashville's was the one that made me most excited to see more episodes of the series and see how its world unfolds.
  12. It’s very good, a swift-moving crime thriller that also takes the time to measure the effects of the crime on Tony and Emily’s marriage, their state of mind, and the lives of the French townspeople who were drawn into the investigation and may be again.
  13. The show's dialogue is possibly the fastest on TV, the stories are briskly paced and unobtrusive, and Shepherd gets lots of loving close-ups. Moonlighting is a snazzy entry that deserves a full-time job on ABC next fall.
  14. In the three episodes sent to critics in advance, Community sounds like itself again.
  15. Packing a sharp designer shiv, this clever saga of haves vs. have-mores proves the East Coast can be as enjoyably sudsy as the West.
  16. The Dust Bowl is a powerful documentary about what human efforts can achieve and what short-term thinking can wreak.
  17. In each one [hour] that we do see, there’s a sense of urgency in the face of change, of characters figuring they have maybe one more chance to get themselves where they want to be.
  18. Gotham is not reinventing the dark cop show, or the dystopian drama, or the superhero genre. But it combines them in a way that’s invigorating–and, honestly, it’s probably better than a new series with this built-in fanbase needed to be.
  19. The first newscast did feel simultaneously long and breathless, maybe because there was little to vary it or break up the topic segments.... But it was a funny, confident start.
  20. The five episodes NBC sent out don't, to my eye, reach the heights Chuck hit toward the end of its season 2 run. But after a major change in the show's premise--rather than being a sad sack nerd dragged into the spy-life, Chuck is now a certified ass-kicker, thanks to getting some superpowered brainwaves--the show successfully changes gears while keeping everything that's best about it.
  21. I will say that the show really has a handle now on Leslie Knope (Amy Poehler), who comes across as an overzealous but sympathetic bureaucrat, not a ninny. That it is doing an excellent job of finding things for its supporting characters to do, suggesting it may someday have the bench strength of a show like "The Office. "
  22. At least in the first four hours... the show reminds us of the intense thrills it can provide even without threatening to blow up the entire planet.
  23. House of Cards isn't wholly original. But it is supremely confident.
  24. As the series itself develops (it was somewhere in episode 3 that I really got on board), all these broad-strokes characters add together into a more complex whole.
  25. It de-emphasizes what I thought was worst about the original–the shooting-fish-in-an-aquarium reality-TV satire–and builds on what was best: Lisa Kudrow’s microcalibrated performance, and its cringe-making yet sympathetic depiction of an actress, now around 50, trying to make it in an industry that stamps a sell-by date on women.
  26. The result is the most promising show in years for Starz, which since Party Down’s glory days has focused on blood-heavy spectacles like Spartacus and Black Sails or morose antihero dramas like Boss and Magic City.
  27. Kids are drawn by the show's loopy slapstick, grownups by its dry (so to speak) wit.
  28. An improbable, heart-pounding and-tugging mix of fantastical '60s spy chic and emotionally realistic drama ... Ridiculous, over the top but unashamed, it manages to thrill and win our hearts.
  29. While The Roosevelts is, yes, long and at points fast-forwardable, in its best moments it gives human breath to a well-covered period of history, all in service of an idea: showing the ways that, through these generation, America matured and changed.
  30. The first episode is, maybe to grab the young-guy audience, heavier on the sexplay and lighter on the laughs. But two or three episodes in, the characters and dynamics come together, and the show really begins to kill. Literally and figuratively, but mostly figuratively.
  31. A low-key but moving documentary about these two low-key people and their moving struggle.
  32. Refreshingly, Looking doesn’t contort itself to create a character to represent every different aspect of “the gay experience.”
  33. The funniest new sitcom of the spring ... What makes Universe funny and not just wacky is that it uses the qualities that endeared viewers to Richter's Late Night persona--the affable, moon-faced cynic--making the character the kind of sweet but snarky dreamer you would want in the next cubicle.
  34. Shot intimately with handheld camera, it's a moving but unsentimental celebration of community, of pulling together not just because it's right but also because it's necessary.
  35. Like its characters themselves, Terriers has higher aims, but its appeal comes from being likeable and familiar. It balances its running storyline with individual cases, carried largely by Logue and Raymond-James' charm.
  36. If Downton's staging and dialogue can be too on-the-nose, the characters are still drawn with great subtlety.
  37. [A] captivating, slow-burn emotional mystery.
  38. Luck too is far from perfect, but I found a lot to love in its rough edges.
  39. I hope it's not an old-man thing to say, and that you don't have to be an old man to appreciate it, but the truth that Men understands is that just getting through the day is drama enough. Here's looking forward to another year.
  40. Beyond the cat-and-mouse international intrigue, which deepens after the pilot, The Americans has an absorbing personal story to tell--one as familiar yet unusual as its aliens-among-us protagonists.
  41. There's a sweet, good-hearted minuteness of observation to the show, which manages to work in middle-of-the-night wakings and diaper changes without going for obvious gags.
  42. It's true that Mad Men is deliciously curated, from the omnipresent cigarettes to the rocket-cone brassieres (and casual sexism) to the cool modernist sets. But the subtle, deliberately paced drama has a wider sense of history.
  43. A witty, mature drama that can hit both the chest and the heart.
  44. The O.C. looks to have enough heart, talent and wit to generate a few seasons' worth of luxurious suds.
  45. Big Love quickly settles you into its odd setting. The particulars of the Henricksons' lives--their intrigues and secrecy, yes, but also their familiar family dynamics and sincere faith--are presented, simply and unpatronizingly, as the reality of the show's universe.
  46. The show's grungy ambience and gleeful puncturing of TV ideals of happy domesticity have made it the most daring new sitcom of the fall.
  47. Parenthood shows a funny, affecting, distinctive voice that you'll want to keep listening to.
  48. The clever, engaging script and Blonsky's performance--plus the refreshing idea of a teen drama not entirely populated by assembly-line pinups--promise a summer diversion with a little more than usual dramatic meat on its bones.
  49. Bored to Death is good, very good--but it's pilot isn't, so it wouldn't be terrible to miss it or see it late.
  50. It's also, judging by the pilot, flawlessly art-directed, full of well-chosen period music and--for a drama about a country searching for its bearings in its bicentennial year--a lot of fun.
  51. It starts and finishes strong, and in between, it passed the most important test this non-boxing-fan could hold it to: when I finished one episode, I immediately wanted to put another in.
  52. Deadwood is not the next Sopranos. Everyone likes Italian food, whereas this is beef jerky--slow chewing, an acquired taste but substantial. Sometimes Milch's Shakespearean ambitions get away from him, and the story can drag. But the acting is strong.
  53. MasterChef Jr. is the most delightful, cathartic reality competition on TV because it lets you see contestants taking unsullied pleasure in what they can do.
  54. High School Musical 2's audience already knows how this movie ends. But they'll watch and re-watch because it has such an unembarrassed good time getting there.
  55. It's an uneven Coen Brothers--like mix of dark comedy and darker moral drama, but Cranston is amazing as a desperate, conflicted gangsta-nerd.
  56. The realism doesn't extend to the exaggerated characters and plots, but if you focus on the sharp dialogue (and aren't an easily worried parent), these students earn a solid ... B.
  57. It’s a first draft told by a first responder, with no time for niceties. But it is deepened and rounded out by some remarkable supporting performances, especially a fantastic Jim Parsons as Tommy, a warmhearted activist volunteer.
  58. Brooklyn Nine-Nine is easily the fall’s strongest comedy pilot, clever, appealing, feeling thought-through and lived in after only a half-hour.
  59. It offers a quiet, empathetic picture from the perspective of Romney and his family of what it’s like for a human being to experience the glare of a modern media campaign and to offer himself up for rejection, twice.
  60. On paper, it sounds like another sitcom dedicated to the tired idea that relationships are forced on men like collars on dogs, the leashes held by annoying, fun-killing women. And yet I enjoyed the show more watching it than I find I am describing it.
  61. The Witness films are interesting not just for the external drama but the internal stories of the photographers, who try to explain what led them to seek out this thrilling but potentially deadly work.
  62. All that's missing from Seinfeld is some human ballast to the frivolity. Jokes about air conditioning in Florida and bathrooms in shopping malls are fine as far as they go. But Seinfeld the character remains curiously weightless and remote.
  63. The season's best new sitcom. ... Reiser, a former stand-up comic, has knife-edge timing and a full repertoire of nervous tics, and Hunt manages to be both charming and exasperating at the same time.
  64. There’s enough talent and intensity here for me to step behind the tent flap, to see if all this can cohere into something super freaky.
  65. This My Name Is Girl concept may be outlandish, but Ex List is also fresh and raunchily funny (there's a scene in the pilot comparing feminine waxing choices to historical figures--the "Hitler," the "Gandhi") and Reaser is winning and adorable.
  66. The show is filled with Lettermanesque non sequiturs and '70s pop-culture arcana... but it has heart too.
  67. There are signs that the premise may not sustain for long (the title, after all, gives it only a week), but it still shows that a good pratfall is the universal language.
  68. Like a successful patient, the show has learned and grown, becoming more reliably compelling.
  69. It's a promising comedy about a shallow man trying to make his life right, one bad deed at a time.
  70. The new episodes quickly jump back in, with higher stakes and sharper jokes, and creator Josh Schwartz hasn't let the strike stop him from developing Chuck's character.
  71. Lie to Me's pilot is brisk anthropological fun.
  72. Its stripped-from-the-tabloids approach is nothing new, but it's well done, and a little familiarity won't hurt the show's chances.
  73. If The Good Wife can maintain the first episode's tone, it will keep an audience even after political sex scandals fade from the news.
  74. Worth watching.
  75. While the first two episodes of Portlandia are hit-and-miss, its good-natured satire generally hits, as they say, pretty close to home.
  76. Though his new show is not as slick as his last (TV Nation), it's even more hard-hitting.
  77. More than smart enough to make you wonder why it's on UPN.
  78. For baseball lovers it's the World Series, All-Star Game and Fan Appreciation Day rolled into one, with all the hot dogs and frosty malts you can wolf down. It is also a bit much.
  79. Overall, the season stands up well next to any sitcom on the air now; a few episodes were meandering slogs, but a few others are among the funniest, best-executed sitcom episodes I’ve seen this season.
  80. Deadpan and gorgeously shot, The Hills is an addictively watchable visit to the cool kids' table.
  81. The Rosie Show is nothing revolutionary, but it does as much as reasonably can be expected of a talk show in its first week, and--thanks to the experience of its star--has the feeling of a show that's been on the air for months longer.
  82. There’s a lot of thread here, and less time than usual to knit. In the first three hours anyway, there’s too much Empire, too little Boardwalk.
  83. None of this is groundbreaking, and that’s Togetherness' biggest weakness.... But Togetherness improves as it goes, on its excellent performances, well-observed writing and--a strength of all HBO’s best shows--specificity, both of setting (quasi-suburban Eagle Rock) and of personality.
  84. This loose, wry sitcom makes a crackling love connection.
  85. Good-hearted, eccentric and wry, Ride goes nowhere fast, but it has a fine time getting there.
  86. It's highly entertaining.
  87. The writing is uniformly strong and Byrne excellent not only at reading Paul's dialogue but conveying what he's withholding--his true feelings about his patients, his inner turmoil over his disintegrating home life. But the storylines vary wildly from riveting to tedious.
  88. Black-ish‘s nuance is promising--it’s aware that there’s not just one way to be black--and the sheer level of execution suggests it has staying power.
  89. It's a big download of fever-dream melodrama, but strong casting goes a long way toward selling it.
  90. Drive is an audacious, exhilarating enough concept, and its pace and writing snappy enough, to make you want to believe.
  91. The show's unscripted feel and sub-Kukla production values make the bizarre punch lines even more jolting.
  92. It’s a potentially interesting way of dramatizing and heightening the state of small-town claustrophobia: what if this little place, which seemed like the whole world, suddenly essentially became the entire world?... That’s the biggest potential strength of Under the Dome. A weakness is that few of its characters are instantly memorable or distinctive; there’s a kind of generic, TV-commercial homogeneity to the Chester’s Mill we first see.
  93. Danson, with his mix of insouciance and egotism, is in peak form.
  94. With the necessary caveat that it’s fruitless to “review” a late-night show after one night ... [the panel discussion] is the segment that will need the most work. ... Maybe the most important first impression from a talk show’s first night is simply point-of-view: does the show know what it is, and why it is? Here The Nightly Show really has something going for it.
  95. Mad TV has an edginess that Lorne Michaels' once revolutionary show [SNL] has long lacked. ... Of course, Mad TV is not without its lapses. Though it has steadily improved since its unpromising early episodes, there are still sketches so heavy-handed in their attempt to appear politically incorrect that they are virtually unwatchable.
  96. The band has a refreshing scruffiness but except for Joe gets too little screen time to leaven the formula slickness.
  97. While the pilot didn't blow me away, there's enough in its premise (the mob comes to Las Vegas in the early '60s), its casting (Michael Chiklis as a gangster and Dennis Quaid as his sheriff adversary) and its seeming ambition that make me more interested in it than in most new shows this fall.
  98. The series needed a change-up and season 3 provides one, a bit; Frank is not fighting to get somewhere but to stay where he is, and his enemy is not so much a single Big Bad as it is the processes of government and diplomacy. When he’s off-balance, we are, and that makes the plot turns more interesting.
  99. While it's haunting, cerebral and gorgeous, it's also a little cold, though the flashes of humor help. Like its actives, it's a marvelous piece of engineering. But I hope it develops a personality of its own.
  100. In all, it's a polished pilot, but one that will have to ground its characters better to work as a series.

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