Time's Scores

For 605 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 1.1 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 Bridalplasty: Season 1
Score distribution:
  1. Mixed: 0 out of 369
  2. Negative: 0 out of 369
369 tv reviews
  1. Fast and aggressive as a Porsche on an L.A. freeway, Action is a little in love with its own transgressiveness, but when it passes up broad, vulgar humor for smart, vulgar humor, it's the best excuse you'll find this fall for kicking the kids out of the living room.
  2. If what you want from Smash is what the pilot promised--a consistent, network-TV equivalent of mainstream Broadway--season 2 takes the first steps toward being that. The story feels better focused and, with help now from new cast member Jennifer Hudson, the show’s musical moments can deliver the passion and concentrated dream-power the scripts haven’t.
  3. As a straight-ahead sci-fi tale, it's engrossing: how is this happening, who is doing it to us, and how does it relate to Captain Jack's own blessing/curse of immortality? The social aspects, however, are handled more hamfistedly so far.
  4. Scandal isn't a deep show, but it's bright enough.
  5. The dialogue is at times stagey, and the characters are defined almost entirely through their addictions. But for this last, reality has to share the blame.
  6. Making audiences feel weird merely for laughing is a sign of something quite wrong, or quite right; here it's mostly the latter.
  7. A suspenseful, hurtling water ride of a TV show.
  8. Transparent, with Shelly’s increased screen time and the children’s repetitive story lines, has grown even more myopic. With few exceptions, including random flashbacks to Weimar-era Berlin, the show feels more claustrophobic than ever.
  9. Especially in the pilot, Scrubs is burdened with every gimmick that Ally McBeal and its offspring have used to simulate comedy--fantasy scenes, gratuitous sex jokes and sound effects. ... But the show also has a dry, unjaded humor.
  10. While it's not a great TV movie--it's basically a high-class Movie of the Week, a docudrama that dramatizes events you'll recall from the news at the time if you were following it--it's nonetheless a gripping recounting (ha!) of a Presidential drama that was pretty gripping at the time to begin with.
  11. A singularly apt pairing of subject and writer. ... It is often funny but never exactly fun; it's icier, more rarified and easier to admire than to love. It's also audacious, psychologically acute and beautifully shot.
  12. Technically and visually, Peter Pan Live! delivered. The smartest thing the production did was to be unashamedly stagey.
  13. The series is no longer about the Osbournes, heavy-metal Munsters. It's about the Osbournes, stars of The Osbournes. If watching the family become mainstream media stars is not as weirdly fun as the first season was, it's intriguing in its own way.
  14. House of Lies is sharp, but not big on subtext.
  15. while the TV satire is far too broad, the dialogue is wittily written, and Matt LeBlanc--playing himself, inappropriately cast by the network to replace the elderly thespian who originated his role--turns out to be a pleasure to watch.
  16. It's still an acerbically entertaining show that I'll keep watching for now because of the strong cast, because of its gift for the obscene bon mot (a Selina speech edited for political concerns by the White House is said to be "pencil-fucked"), and because I hope it will grow into something more distinctive.
  17. There you have the magic of Idol: British headmasterly discipline running smack into the preternatural sense of self-esteem--often inversely proportional to talent--that Americans have hardwired into them from the womb. You may wince at Cowell's barbs, but you also welcome them when Abdul or Jackson offers a wimpy "Good job" to a singer who has scraped the fingernails of her ambition down the chalkboard of her limited ability.
  18. The Family relies on familiar, drab settings, and squeezes from them--and from Allen’s performance--real gravity and emotion. Perhaps the show’s biggest twist is that it has something on its mind.
  19. It slowly develops into an engrossing look at the methodical nature of police work and the limits of individualism.
  20. On CSI, each victim's body is a rich source of detail, a novel in which the investigators read about deception and murder. The lead characters are another matter. They're sexy and likable but self-effacingly undeveloped. The series tosses us a tidbit every now and then--Grissom is a lapsed Catholic, Willows used to be a stripper--but the show is least original when it delves into their private lives.
  21. while I can't say that it's a great HBO comedy yet--it is not, really, even strictly a comedy in the ha-ha-hilarious sense--it's likeable and absorbing and made me want to stick around for more.
  22. For all the show's cartooniness, its gender-conscious take on the TV business is actually more sophisticated [than Studio 60's].
  23. It’s way too soon to say whether this jumble works, but it’s promising that Extant‘s premiere seems confident enough to play it cool and mysterious rather than hammer us with holy-crap moments.
  24. I've now seen three episodes of Wilfred, however, and I think this bizarre, dark yet oddly good-hearted series has legs. Four of them, at least.
  25. Rather than titillate you with how dangerous Bob's life and position are, the show focuses on how sad, and oddly romantic, his torn-between-two-lovers situation is. And in the pilot, at least, it doers a very good job.
  26. The opening episodes are uneven but show a lot of potential.
  27. Agent Carter‘s writing early on isn’t at the level of the best Marvel films, or even The CW’s new The Flash... But Atwell and the producers (including Michele Fazekas and Tara Butters of the late, clever Reaper) have made something entertaining and engaging enough that you don’t miss the superpowers and spandex.
  28. [Joan is] the most extraordinarily average teen to crop up on a TV show in years--yet after a few episodes, you realize you would watch her story even if God stopped showing up.
  29. Other Space may not be TV’s, or streaming’s, next great comedy. But it’s a welcome and unexpected treat.
  30. Imperfect but chilling.... In the end, Sleeper Cell is every bit as nailbiting as 24, with one crucial difference: neither the terrorists nor the Feds are supergeniuses.

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