Time's Scores

For 658 reviews, this publication has graded:
  • 40% higher than the average critic
  • 7% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 1.4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Louie: Season 4
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 400
  2. Negative: 0 out of 400
400 tv reviews
  1. Like the dystopian British anthology Black Mirror, Humans is a sci-fi premise smartly reimagined for our own age of tech outsourcing.
  2. Ballers is hardly a must-watch yet, and the early episodes rely on a lot of familiar problems-of-fame stories. But it has potential.
  3. The Brink is far more likely to trigger a hasty finger on your TV remote.
  4. Season 2 loses the novelty of the show’s first outing and highlights the weaknesses.
  5. Racy, amiable and honest, Catastrophe doesn’t feel the need to amp up its story with surprises either. It just does the exact thing it’s supposed to.
  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. Smart fun from the start, managing impressive spectacle even if it doesn’t have the visual firepower of the most epic Thrones episodes.
  8. Its world-building is so strong there’s too much material: the episodes tend to run near a full hour and yet feel jam-packed.... Even if it sometimes builds soapboxes and strawmen (Taryn Manning’s Pennsatucky sometimes exists to be a fake-toothed mouthpiece for Ignorant Conservative America), it remains as fresh and interesting as when it began.
  9. A globe-spanning series that offers in ambition, action and visual panache what it lacks in coherence, fleshed-out characters and plausible dialogue.
  10. UnREAL is melodramatic and moralizing. But it’s also, in its first three episodes, pretty good: dark, deft and empathetic.
  11. It now has a compelling subject, the emergence, through modem clicks and whistles, of the wired Internet era we live in. Like many a good period piece, it’s really our own origin story.
  12. Sheerly as a crime story, Aquarius goes down easy enough, but it lacks particularly fresh ideas either on its setting or its genre.
  13. The series doesn’t waste much time, plunging ahead with unremarkable dialogue but effective plotting, and establishing quickly that no one is safe and you should take little for granted.
  14. The two stars are a delight together.... But they play like sitcom characters plopped down in a cable-dramedy world, delivering dialogue is full of one-liners that feel like they’re setting up studio audience laughter that never comes.
  15. The decision to build out Krystal’s story is one of the best choices of this adaption, giving depth and shading to a story that more often swings from sourness to melodrama.
  16. It’s not badly written at all; there are tour de force bursts of monologue and magma blasts of white-collar rage. But it is very written, very writerly; the only thing organic in this high-end suburb is the Whole Foods
  17. 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.
  18. Other Space may not be TV’s, or streaming’s, next great comedy. But it’s a welcome and unexpected treat.
  19. It is still a magnificent beast: bold, confident and venturing off in new directions.
  20. The show-within-the-show is bad, intentionally so (I think). The show itself is worse, if only because there’s more of it.
  21. The confidence and adventurousness of Louie‘s experiments are still present, but reined in and focused.
  22. Each episode is tightly, often ingeniously plotted; they range from sweet romance to urban satire to comedies of manners, and each delivers more depth of character than TV episodes three times as long.
  23. It makes for a slow but haunting last beginning. The final overture is well-orchestrated by Weiner.
  24. I recommend it heartily: Mark Rylance is spectacular as Cromwell, bringing subtlety and melancholy to a man who was more of a bulldog in real life (as Hans Holbein the Younger painted him), but conveying the terrifying efficiency of his mind all the same.
  25. Younger sells it through Foster’s agile charm and its refusal to make any of its characters into punching bags. (TV Land sent out the full season for review; I’ve seen five episodes.) Like its protagonist, the ideas behind Younger have been around the block a few times. But it doesn’t show its age at all.
  26. There’s definitely something Fallonized about the new Late Late Show, not necessarily in a bad way at all.... The device of bringing both Hanks and Mila Kunis on at once cocktail-party style is promising, but we’ll see if it works with a wider range of guests.... Other elements of the show are embryonic. Musician-comedian Reggie Watts was an inspired choice for bandleader, and let’s hope the show gives him an active role.
  27. The biggest weakness of Bloodline is that the characters are types, straight down the line: the hardass dad, the soft-hearted mom, the peacemaker, the black sheep. And the scripts don’t do much to round them out.... They’re well-played types at least.
  28. The college was saved and the show was saved, but that left each with a question: what now? The first two new episodes still seem to be figuring it out. Community still feels very much like the same show in tone, sense of humor and production quality.
  29. A wan, chintzy soap that can’t compete with reality–either Britain’s or E!’s.
  30. All the scripture and trinkets add up to a lifeless series that’s more puzzle than narrative.

Top Trailers