Time's Scores

For 648 reviews, this publication has graded:
  • 39% higher than the average critic
  • 7% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 1.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Game of Thrones: Season 5
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Mixed: 0 out of 393
  2. Negative: 0 out of 393
393 tv reviews
  1. If Chelsea does anything new, it's the same new thing every show has been forced into, now that stars can skip talk shows and use social media to talk directly to fans.
  2. In short, it was an episode of Game of Thrones, a show with little interest in or aptitude for self-editing. The aspects that worked were no better-written or more artfully shot than those that fell slightly flat; they simply had a sense of urgency that was, even by the standards of a show whose premieres are slow going, was absent elsewhere.
  3. Dice is unwilling to give Clay qualities beyond abrasiveness and unequipped to craft for him an insightful line. Leggero, co-creator of Comedy Central's terrific Another Period, is wasted, while cameos by Adrien Brody and Wayne Newton go nowhere.
  4. The Night Manager applies the pleasing fundamentals of pulp spycraft to the banal world of corporate evil.
  5. There’s a certain flair in the way Cena speaks, fluently, the language of military veterans. Better still, there’s genuine grace in the way he lets the veterans themselves do most the talking.
  6. The jokes are still, often, wildly funny (and they come densely-packed enough that if you don’t like one, you’ll have all of 15 seconds to wait), but it seems more clear than ever the unpleasant point Unbreakable Kimmy Schmidt is working toward: That all of us, especially the viewership, are dupes.
  7. Bemused Hurt and quiet, searching Morton do terrifically with the material, which shares with its theme song, David Bowie's "Blackstar," a sense of remove and oddity.
  8. The only part of the otherwise sophisticated Confirmation that rings false is its closing chyron, which indicates that Hill's case emboldened victims of harassment to speak out and factored into 1992's congressional "year of the woman," in which female candidates won more seats than ever before.
  9. The Girlfriend Experience intuitively grasps the manner in which constantly available information can transform lives. If it resembles any movie genres, it's the paranoid eavesdropping thrillers of the 1970s, like Klute and The Conversation.
  10. Their coupling is toxically but entertainingly fueled by this sense that every story the couple can tell must be a melodrama.
  11. A low-energy, laugh-tracked sitcom that feels like a mid-season replacement from 1978.
  12. As The Path reveals details of the faith's underpinnings--its punishments and fundraising methods, and the past its leader is running from--it becomes more rewarding.
  13. Enos is asked to sell a caper, but the inciting incident--her husband turns out to be a con artist who disappears, taking her money with him--is played less as melodrama than as farce.... The bigger issue is that Christopher Hall, played by Peter Krause, responds to pure goofiness as though he’s the tormented hero in the penultimate scene of a DC Comics film.
  14. Heartbeat has welcome flashes of true weirdness. But the show isn't thoughtful enough to earn its insouciance.
  15. The second season of Daredevil compounds the failures of the first.... The Season 2 introduction of the Punisher (Jon Bernthal), a brutal vigilante inspired by Daredevil, could have had real charge if it didn't just feel like a trailer for Bernthal's own stand-alone series. Eventually, something's going to have to justify Daredevil's tonal excesses. Until then, we're left fumbling in the dark.
  16. The quiet rage behind Plimpton's quest for normalcy--"You still have that?" she asks Kenny with hope, a day after he's announced he's gay--makes the series something really special.... The Real O'Neals, though less polished, does something similar [to blackish], pitting evolving norms against a family unit fundamentally resistant to change.
  17. McDonald, a seasoned performer known for her crystal-clear voice, goes so guttural as Billie that her between-song monologues seem at times incomprehensible. That’s kind of the point; her winding stories have no resolution but breaking into a song midphrase.... For her part, McDonald could easily win yet another prize for the role.
  18. Flaked has the stylings of a TV comedy--meandering and lazily plotted, it doesn't work as drama--yet actual humor is all too absent.... This is disappointing, because what Arnett and Flaked do well, they do better than they ought.
  19. Underground rises to the challenge with urgent storytelling and a heavy dose of contemporary edge.
  20. The Family relies on familiar, drab settings, and squeezes from them--and from Allen’s performance--real gravity and emotion. Perhaps the show’s biggest twist is that it has something on its mind.
  21. Fuller House has nothing more to offer than a look at what an old show’s actors and format look like in the present day. It’s an utter failure of ambition in exactly the same way as was Fox’s recent X-Files reboot.
  22. Season 5 of Girls resolves the angsty cloud that has long swirled around the series by making it, more than ever, something generic.... But outside of [Hannah 's] home life, Girls now has the airlessness of a laugh-tracked sitcom.
  23. [The third season] combines what about the show has always worked with a new sense of seismic life change roiling under the surface.
  24. With sharp, observational wit, the show takes us through the familiar process of getting to know someone.
  25. A spin of Vinyl‘s first five episodes reveals a beautifully made, sophisticated-enough antihero drama in the Mad Men or Boardwalk Empire mold, but one hampered by incongruities that keep it from being a true game changer.
  26. In its second season, Better Call Saul allows us into a new world of complexity by deepening one of the show’s pivotal relationships. It’s the best-case scenario for a spin-off: a show that occupies a familiar world but opens up entirely new themes.
  27. Eight episodes, here, is too many; the series goes down several blind alleys before it gets to Dealey Plaza. But its best moments thrum with tension, as when the past rebels against our hero, trying to repel him.
  28. The show falls short of being worth the fee. Its plot, surprisingly, ended up becoming both fairly complicated and quite maudlin, but the characters are too remote to either follow in byzantine detail or feel for.
  29. The show is nourished by Toobin’s contemporaneous reporting, which dives deep into the supporting characters’ motivations.... Some viewers might be turned off by Crime Story’s focus on celebrity and its winking references to the family of Simpson defense attorney Robert Kardashian (Friends star David Schwimmer), of which there are too many. The point, though, stands: the Simpson trial was fueled by fame and, troublingly, generated fame for those involved.
  30. It’s more tightly focused on a case of rape at an Indiana private school in which every player--victim, victim’s mom, alleged perpetrator, school headmistress, bystanders--gets more than one chance to have his or her say. Its status as a work of pure fiction allows race, class and sexuality to shape the narrative in creative ways, and the characters are more than just placeholders for what we’d like to believe about the case.

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