Time's Scores

For 524 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 1.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Homeland: Season 1
Lowest review score: 0 The Playboy Club: Season 1
Score distribution:
  1. Mixed: 0 out of 318
  2. Negative: 0 out of 318
318 tv reviews
  1. 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.
  2. 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.
  3. Worth watching.
  4. While the first two episodes of Portlandia are hit-and-miss, its good-natured satire generally hits, as they say, pretty close to home.
  5. Though his new show is not as slick as his last (TV Nation), it's even more hard-hitting.
  6. More than smart enough to make you wonder why it's on UPN.
  7. 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.
  8. 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.
  9. Deadpan and gorgeously shot, The Hills is an addictively watchable visit to the cool kids' table.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. This loose, wry sitcom makes a crackling love connection.
  15. Good-hearted, eccentric and wry, Ride goes nowhere fast, but it has a fine time getting there.
  16. It's highly entertaining.
  17. 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.
  18. 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.
  19. It's a big download of fever-dream melodrama, but strong casting goes a long way toward selling it.
  20. Drive is an audacious, exhilarating enough concept, and its pace and writing snappy enough, to make you want to believe.
  21. The show's unscripted feel and sub-Kukla production values make the bizarre punch lines even more jolting.
  22. 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.
  23. Danson, with his mix of insouciance and egotism, is in peak form.
  24. 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.
  25. 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.
  26. The band has a refreshing scruffiness but except for Joe gets too little screen time to leaven the formula slickness.
  27. 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.
  28. 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.
  29. 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.
  30. 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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