Time's Scores

For 545 reviews, this publication has graded:
  • 38% higher than the average critic
  • 8% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 1.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Louie: Season 4
Lowest review score: 0 Bridalplasty: Season 1
Score distribution:
  1. Mixed: 0 out of 330
  2. Negative: 0 out of 330
330 tv reviews
  1. It can be claustrophobic; it can be, as Marc’s Twitter hater tells him in the first episode, “whiny.” But it can also be quite funny, as Maron’s instinctive kvetchiness runs up against the practicalities of life.
  2. None of these [new sci-fi] series matches Lost's mix of character, wit and story, but the grim Invasion at least has the story part down, and keeps the horror at a nicely restrained simmer
  3. Margulies vanquishes her ER heroine image, but bad dialogue and dull legal stories undermine her case.
  4. The monologue was the sharpest part of Meyers’ first hour on the air (a departure from Fallon, whose monologue has never been his strength)–brisk, punctuated with self-deprecation, and wide-rangingly topical.... The distinguishing thing about the first night of Seth Meyers, in other words, was Seth Meyers, and the hour dropped little hints about how his personality and interests might shape the show.
  5. The slog of guest casting and product placements only underscores that Sharknado has become a big, bloated seafood platter, and everyone and their agent wants a bite. But for all that, Sharknado 3 keeps its own self-aware sense of humor and it can still deliver a gorily surprising action setpiece.
  6. Some of the later episodes (I've seen four) are uneven, and the stories sometimes have the feel of standup riffs literally adapted for the screen. But even those can be funny and well-observed.
  7. With his deft timing and vaudeville hamminess, White brings such extravagant high spirits to the role that he is hard not to like.
  8. It's fun if a little forgettable, and the joy it takes in its characters discovering their new powers so far works better than the fairly familiar parent-child conflicts and midlife crises that play out in the background.
  9. At its best, which is very good, Brooklyn Bridge rings with fresh and funny childhood observations.
  10. Homefront is a slick, satisfyingly busy soap opera.
  11. The echoes of To Kill a Mockingbird and The Member of the Wedding are hard to miss, and the show's two-hour pilot moves as slowly as, well, molasses in January. Yet producers Joshua Brand and John Falsey (St. Elsewhere, Northern Exposure) have created a drama of rich texture, few tricks and much truth.
  12. The first episode is zippy, slick-looking, and Whedonistically funny. It also seems much more limited in its ambitions than Whedon’s past TV shows; it seems to be set up largely as a procedural in which the agents defuse various threats of the week.
  13. As entertainment, The Apprentice is not quite Survivor--hype aside, Manhattan can't out-jungle the jungle--but it's much more exciting than Burnett's take on the dining business in The Restaurant. The challenges, which make up the bulk of the episodes, are cleverly designed and guarantee dramatic sparks.
  14. This is all a long way of saying I'm glad to see that, in SoA's fourth-season debut, the show hasn't just returned to its setting of Charming, California. It also returns, slowly, to Jax's realization that he doesn't want his life to be Abel's, and that he wants a way out.
  15. In the end, however, Homicide doesn't stand out in bold enough relief from TV's background clutter. The characters are too pat, their conflicts too predictable.
  16. It toys with the sitcom format in ways both inventive (the little flourishes of animation that divide scenes) and annoying (the episode outtakes that run under the closing credits).
  17. Curb, meanwhile, stopped being appointment viewing for me a couple seasons ago, but it threatens to become so again.
  18. Some of the supporting characters need work (especially a too sitcommy administrator played by Anna Deavere Smith), and some patients-of-the-week veer into clichés. But Falco is outstanding as a living reminder that you meet angels only in the next life.
  19. But mostly, the show improved--in my eyes, anyway--by doing well enough by what was good about it that I could simply ignore the weaker stuff.
  20. Summer Heights High is not a perfect comedy, and those offended by crossed boundaries will feel their boundaries crossed. But it's a welcome, if sometimes familiar, HBO comedy while we wait for the return of "Flight of the Conchords."
  21. It's a refreshing take and an interesting effort, if finally not quite a compelling one.
  22. The Parks and Recreation pilot is funny, with mounds of potential. Its problem is that it seems to be actively downplaying its distinctiveness by emphasizing the surface resemblance to The Office.
  23. Predictable but pithy, Wife takes itself no more seriously than the Hollywood-haves it skewers.
  24. There are, maybe, some hopeful signs. The series seems to have given up on trying to create a bigger WMD for every season, which it needed to do. The political subplot—new president Cherry Jones wants a humanitarian invasion of a Darfur-like African country but is being undermined—is intriguing and a bit different for the show.
  25. In all, not a great debut, but one with potential, and it shows off Grier's versatility well.
  26. Because of Lewis' brilliant portrayal of the eccentric Charlie, the show is perfectly enjoyable. It's just not compelling, mainly because the ongoing story of Charlie's search for justice is so isolated from the rest of the show that it seems meant for bathroom and snack breaks.
  27. Kings is fascinating pretentious hoo-ha.
  28. it's a solid episode of The Office, which picks up with the Pam's pregnancy storyline the last season ended on, though I won't get into the details of how.
  29. In the early Season 2 episodes, the strain shows in the songs, which service the plot but aren't as memorable as the old ones. But the scripts are as funny and tightly written as ever.
  30. The marvel is that anyone is still watching after the plodding premiere episode. ... Succeeding episodes have been better, mainly because they have emphasized the show's homespun attractions. One is a talking dolphin named Darwin... The other is a Star Trek-like combination of imaginative sci-fi story lines and the cozy ethos of Wagon Train.

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