Time's Scores

For 565 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 point lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Game of Thrones: Season 5
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 344
  2. Negative: 0 out of 344
344 tv reviews
  1. Sometimes unwieldy, sometimes beautiful, Parade’s End is--like the turbulent new order it ushers in--a bit of a mess, with no easily identifiable good guys. This miniseries doesn’t tell you how to feel, and it’s not exactly bursting with charming, loveable characters. But there’s a poignance to its story of people realizing their orderly parade is breaking up all around them.
  2. Yet as over the top as Millennium can get, the show does succeed at creating a marvelously unrelenting sense of unease.
  3. Political Animals, an inconsistent, sometimes ludicrous, but also juicily fun political soap, is about something that ultimately makes for better TV: the idea of Hillary Clinton.
  4. I found parts of this series I could get invested in. You might find even more. Just don't go in expecting more than heck on wheels.
  5. It's an all-around high-class production. And yet, after watching two episodes, I had much the same thought I did after seeing a few minutes in May: the show basically seems like a stretched-out Law & Order episode.
  6. Its early episodes are a mix of power and disappointment.
  7. Too many episodes have strained for comic-book laughs revolving around TV in-jokes.... Yet even the worst shows have had moments of wit and a let's-try-anything charm.
  8. The cast is appealing -- particularly Hamlin, Eikenberry and Richard Dysart as the firm's fatherly senior partner -- and Bochco has become TV's most expert juggler of plots and characters. Yet the first episode of L.A. Law is considerably less daring than advertised.
  9. Promisingly, the pilot of Red Band (like Glee‘s) has a ton of voice, but its tone wobbles wildly as it overcorrects away from sentimentality and then straight into it.
  10. The premiere segment made some jarring missteps (a running gag about a policewoman trying to seduce a gay cop) and lunged too hard for the emotional knockout (Ritter bursting into tears over the death of his landlady). But the engaging Ritter is adept at both ends of the comedy-drama spectrum, and Hooperman has possibilities.
  11. The first episode had some inept action sequences and could have used more fanciful detail. But there are nice lyrical touches, and the show may have hit on something.
  12. A spin of Vinyl‘s first five episodes reveals a beautifully made, sophisticated-enough antihero drama in the Mad Men or Boardwalk Empire mold, but one hampered by incongruities that keep it from being a true game changer.
  13. Sleepy Hollow got my attention, but I’m not yet sure if it’s good, ridiculous, good but ridiculous, or good because it’s ridiculous.
  14. The humor is minutely observed, but the improv reminds you how much nonactor Jerry Seinfeld benefited from comic backup and tight scripts.
  15. The new episodes don’t have the old complexity, messiness and poignance. They don’t inspire the wild excitement of having no idea what’s going to come on the screen next. They don’t have that electric sense of experimenting on the fly. And they don’t seem to do what Harmon had them do, what Community itself did, which is: grow.
  16. This is war as it happened, brutal and random, and in re-creating it Brothers captures viscerally the extraordinary sacrifice of a generation of ordinary men. ... But unlike [Saving Private Ryan], which bared its fictional GIs' souls, Brothers fatally neglects to turn its cast into distinguishable characters.
  17. The reason to stick with it is to see if this ambitious but self-conscious series becomes more than the sum of its affectations--flat line readings, characters with names like Mr. Smooth, precious tilted-camera shots to remind you how weird it all is.
  18. It's almost a non-premise sitcom, whose main attraction is how well the vocal actors bounce its digressive dialogue off each other. I did laugh at the pilot, if not as much as I wanted to, so I'll put this one on probation, and hope.
  19. The best reason to stick with Alpha House so far is that its ideas are stronger than its execution.... If Trudeau wants to argue, say, that today’s GOP is hypocritical, extreme, or dangerous, that’s fine--that’s satire--but it would be stronger and funnier if it engaged with a non-caricature version of the party.
  20. Tara has the potential to be a great comedy about identity, but it needs to be less self-conscious about its strangeness.
  21. Its milieu is esoteric even by Bravo standards: unpaid work facilitating the sale of aesthetic goods for staggering sums of money. Carpentry, it is not.
  22. If the writing can rise to [Harrison's and Hall's] performances, The Loop could take flight.
  23. It’s a mixed bag, but one that generates real sparks between the rich man and the man tasked with investigating him.
  24. I feel that there's a really good dark comedy about the decline of the American dream struggling to emerge from the often-forced plots.
  25. 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.
  26. 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.
    • 74 Metascore
    • 60 Critic Score
    To the extent that Reddington is compelling, it’s because Spader is doing all the work. He gets little help from the pilot script, which feeds him some sharp lines but imagines him as a generically debauched mastermind.
  27. The writing is a notch above standard-issue TV fare, and the show follows its own adventurous, if sometimes bumpy, path.
  28. Deftly written, Joey sets up running gags and delayed payoffs with the precision of the special forces laying mines, much as Friends did. No, exactly as Friends did, and that's a problem. It reminds us that five-sixths of the Dream Team is missing. And where Joey does change, it's abruptly and implausibly.
  29. A blinged-out tour of the lifestyle of the rich and (for now) famous, Entourage is a funny but familiar diversion, lacking the darkness and edge that have distinguished HBO's best series.

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