Time's Scores

For 478 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 The Shield: Season 1
Lowest review score: 0 Bridalplasty: Season 1
Score distribution:
  1. Mixed: 0 out of 286
  2. Negative: 0 out of 286
286 tv reviews
  1. It's competent. It also seems a little familiar and unnecessary.
  2. Like many of ABC's post-Lost attempts at serials, this one has a great premise with tremendous potential, but I wish more attention had been paid to fleshing out the characters and generally bringing a fresher voice to the dialogue.
  3. While I like how Lee's laid-back style translates to a police drama, there's not enough here to separate the show from the umpteen other slightly-quirky-guy-solves-crimes cable dramas.
  4. Entourage continues to coast in the same zone of amiable purposelessness in which it's spent the last few seasons.
  5. In the pilot I saw no emotion, so much as situations recognizable as "scenarios you set up when you want to generate emotion": e.g., the interminable cruise vacation Sean and his fiancee take to get you invested in them before her disappearance. The debut delivers the "high-octane" much better.
  6. The message, overall--insofar as you can take a message from one episode of a talk show, which you can't--is that Conan the show is not so much about a reinvention of the talk show form as a restoration of Conan.
  7. The Palin's in Sarah Palin's Alaska is a possessive. But you could be forgiven for suspecting it's really a contraction--Sarah Palin Is Alaska--or for wondering if someone is hoping for a spin-off: Sarah Palin's America.
  8. The show still has the moments of off-the-cuff comedy and guilelessness that made the first season fun to watch, if not exactly a parade of role models.
  9. It simply too often feels like an unconvincing portrait of poverty and the Gallaghers, like an English council-estate family plopped in the Midwest. The next two episodes depart more from the original, and suggest the series may find its own voice; on the other hand, they're not nearly as well written.
  10. With writing and directing by Neil Jordan and Irons in the lead, it has pedigree and promise. And yet The Borgias, besides the glaring Tudors parallels, is one of those shows that seems like it might actually be better if it were worse.
  11. It was half appealing, with strong chemistry between Kat Dennings​ and Beth Behrs, and half awful, with some egregiously clunky one-liners and borderline (or over the border) offensive ethnic caricatures.
  12. Alcatraz's early crime stories are competent enough, in a moody, achey, men-gone-wrong kind of way. But there's a coldness to the show, and no sense that these are characters I want to invest in and spend time getting to know.
  13. It still remains to be seen what it looks like as a series; with some stronger writing and deeper character work, it could build on its math-superpower idea to make something intriguing and emotional.
  14. Life's Too Short can be uncomfortably funny in a familiar way, and if you're OK with the familiarity, you might like it well enough. But the problem with the humor of discomfort, which Gervais pioneered with distinction, is that it doesn't last long when it becomes a comfort zone.
  15. The problem for GCB is that it hasn't yet figured out a way to be a soap that spoofs superficiality without being superficial itself.
  16. It's sometimes broadly funny and sometimes broadly bad.
  17. While I was creeped out by the way Honey Boo Boo was framing the family and presenting them to us, I couldn't help loving the Thompsons themselves.
  18. There are some funny set pieces in the pilot, and enough fruitful interactions with the patients and their troublesome owners that I could see this show developing into a kind of Scrubs with rabies shots, if the characters can develop beyond the familiar menagerie we start out with.
  19. while the opening episodes set up this material, they don't do much with it, getting bogged down in a sensationalistic, but not especially well-plotted, child-prostitution story.
  20. Katie may not be as successful as Oprah, but she does, whatever you think of this format, seem immediately comfortable in it, cracking unguarded jokes but also owning her celebrity.
  21. Banshee's not a terrible show. At times it can be entertaining. But at best it's terribly, entertainingly superfluous.
  22. Da Vinci’s Demons [is] not a terrible show, nor a terribly good one, but a peculiar hybrid invention whose parts don’t match and that never quite takes flight.
  23. Louis-Dreyfus... has a bittersweet charm (and, yes, she can sing), but it's lost amid wacky-neighbor jokes and slapstick.
  24. For every genuinely surprising image or premise, another is creepy in exactly the way you would expect it to be. ... For a show that prides itself on strangeness, it is the most conventional HBO drama in years.
  25. Satirizing smiley faces and leisure suits is hardly fresh, although there's a sweetness and likability to the cast.
  26. [The show] has a good deal of savvy wit.... The Simpsons, however, is strangely off-putting much of the time. The drawings are grotesque without redeeming style or charm (characters have big beady eyes, beaklike noses and spiky hair), and the animation is crude even by TV's low-grade standards.
  27. There are some amusing gibes at power-tool macho... but dubious prospects for long-term fun.
  28. Great idea, middling execution.
  29. Sun, a series adaptation of a British miniseries (which also starred Mark Strong) is, after the two episodes I’ve seen, a unremarkable in itself: a paint-by-the-numbers serious-cable series where all the numbers indicate a shade of black.
  30. What it needs to make it a lasting family comedy and not a VH1 special is heart and a sense of its characters as individuals. It shows signs of the former, but the latter gets lost in the deafeningly loud pilot and the pop-culture-reference humor.

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