Time's Scores

For 611 reviews, this publication has graded:
  • 39% higher than the average critic
  • 8% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 1.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 The Americans: Season 3
Lowest review score: 0 The Playboy Club: Season 1
Score distribution:
  1. Mixed: 0 out of 371
  2. Negative: 0 out of 371
371 tv reviews
  1. The pilot... iis actually the least funny of the three episodes I saw; in the other two, "Sarah" and the other characters are much better developed and the stories hang together better. Still, it's an acquired tastelessness.
  2. The show becomes more engrossing as is spins out from her story, fleshing out the inmates, their backstories, and their alliances. You may come for the culture-clash cringe-comedy; it’s the real human stories that will have you captivated.
  3. While Broad City is not heartwarming comedy, there’s an undertone of need and connection between them that helps their friendship make sense: Ilana needs Abbi’s dependability, Abbi needs Ilana to give her a kick into gear. Together, they give the early episodes an off-kilter sense of fun that recommends sticking around for more. Broad City is not the next Louie yet, nor should it try to be, but it’s a promising version of itself.
  4. What’s most compelling about The Bridge is that it emphasizes not the psychology or forensics of the case but its context.
  5. 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.
  6. It’s serious and it can be stark, but it’s also funny and brisk, a coming-of-age story with a sense of adventure.
  7. Fortunately, as reminders of one’s inexorable mortality go, First Day of Camp is good fun. Like the original (set on the last day of summer camp), it’s a machine constructed of pop parodies and well-curated period references (“He’s a total fox, like a young Larry Wilcox!”) that conceals an actual beating heart.
  8. Switching from subdued to rageful, actor Jodie Comer convinces you both Ivy's fears and her feral side.
  9. In its early hours, Last Resort lays in enough plot and character provisions to potentially last a long, long journey.
  10. The dialogue's still pulpy, but its action story is the bomb.
  11. 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.
  12. 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.
  13. 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.
  14. As a crime drama in the vein of a more sprawling Law & Order or a less philosophical True Detective, The Night Of succeeds wildly.
  15. An imaginative departure from the sea of indistinguishable sitcoms on the networks this fall.
  16. 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.
  17. 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.
  18. Nashville's was the one that made me most excited to see more episodes of the series and see how its world unfolds.
  19. 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.
  20. 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.
  21. In the three episodes sent to critics in advance, Community sounds like itself again.
  22. 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.
  23. The Dust Bowl is a powerful documentary about what human efforts can achieve and what short-term thinking can wreak.
  24. 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.
  25. Their coupling is toxically but entertainingly fueled by this sense that every story the couple can tell must be a melodrama.
  26. It's thrilling to watch Jesse go from dour to empowered.
  27. At its best--and the first three episodes of the season among the show’s best--Amy Schumer’s comedy is often intensely about herself.
  28. 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.
  29. It makes for a slow but haunting last beginning. The final overture is well-orchestrated by Weiner.
  30. 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.

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