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. The episode is occasionally funny--John Hodgman and Jenny Slate are well-cast as Russ’ friends and sounding boards--but more often it’s mean and miserable.... Stick with Married, though, and it gets better--which is to say that Russ and Lina begin to turn into people.
  2. It's not hard to see the show's attraction. The cast is drop-dead cute, and the low-impact story lines bounce from the trivial to the traumatic with breezy assurance.
  3. The show is more lushly pictorial than anything this side of the National Geographic Specials, and its seat-of-the-pants approach to history is peppy and playful. ... [But] Indy's adventures in the first episode are often unimaginative (the old mummy's-tomb-with-a-curse routine), and the flip dialogue is too forced.
  4. The pilot of Revolution comes across better than either of the aforementioned shows [FlashForward and The Event], but there are still too many forgettable characters, stock scenes and flat patches of dialogue.
  5. By the third hour, I can’t say I was in love with The Newsroom at last. But I felt like I was finally seeing the better version of itself that it could have been.
  6. Confident and plainspoken. ... Dr. Quinn is hokum without an agenda, other than re-creating some old-time TV pleasures.
  7. Ten years ago, Southland would have seemed revolutionary on TV. But now it does feel like network playing catch-up with cable.
  8. Eastbound & Down, is a funny show if you don't expect too much.
    • 61 Metascore
    • 58 Critic Score
    It's the kind of setting that befits a cop show more focused on characters than cases, and The Unusuals delivers there. The problem is the policing; after one episode, it doesn't really grab me as a cop show yet--partly, perhaps, because the show is so whimsical its stakes don't yet feel real.
  9. 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.
  10. 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.
  11. Hannah's normalcy is refreshing, and it keeps the show light and funny. But it also makes her seem a little dull and shallow.
  12. There’s a well-intentioned flatness to the money-changes-everything stories so far.
  13. 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.
  14. It's competent. It also seems a little familiar and unnecessary.
  15. It’s not badly written at all; there are tour de force bursts of monologue and magma blasts of white-collar rage. But it is very written, very writerly; the only thing organic in this high-end suburb is the Whole Foods
  16. Satirizing smiley faces and leisure suits is hardly fresh, although there's a sweetness and likability to the cast.
  17. 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.
  18. 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.
  19. From the mood lighting and stirring music to the hot-button story lines to the characters' arias on the august legacy of their show, Sorkin makes running a comedy program seem like negotiating an arms treaty.
  20. 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.
  21. The three episodes NBC screened, especially the two past the pilot, aren’t bad, really; they’re studiously un-bad to the point of blandness. The supporting characters are thin types.
  22. While tonight’s first episode of Rake (the only one given critics, besides an earlier version of the pilot that was remade since last spring) is--well, rakishly--amusing, it’s not really enough to give a sense of what kind of show this will be, and whether it’s worth sticking with.
  23. The tumult of Henry VIII's reign, especially the schism between him and the Catholic Church, is rich material, and the soap opera of his multiple wives is naturally absorbing: it's just a crime that Showtime couldn't do better with the material than the thinly written eye candy it came up with.
  24. It's sometimes broadly funny and sometimes broadly bad.
  25. There's something missing from this postapocalyptic drama, namely, a realistic feeling of apocalypse.
  26. 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.
  27. 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.
  28. Banshee's not a terrible show. At times it can be entertaining. But at best it's terribly, entertainingly superfluous.
  29. 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.

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