Time's Scores

For 546 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 0.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Crime Story: Season 1
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Mixed: 0 out of 331
  2. Negative: 0 out of 331
331 tv reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. Tara has the potential to be a great comedy about identity, but it needs to be less self-conscious about its strangeness.
  6. 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.
  7. If the writing can rise to [Harrison's and Hall's] performances, The Loop could take flight.
  8. 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.
  9. 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.
  10. 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.
  11. The writing is a notch above standard-issue TV fare, and the show follows its own adventurous, if sometimes bumpy, path.
  12. 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.
  13. 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.
  14. The show, in short, is once again delivering laughs. So why, for a veteran fan, does the new Saturday Night Live still seem like a pale imitation of its old self? For one thing, the most popular bits -- Carvey's Church Lady, the body-building brothers Hans and Franz -- are the weakest parts of the show, crowd pleasers that depend on makeup gimmicks rather than nimble gags.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. Confident and plainspoken. ... Dr. Quinn is hokum without an agenda, other than re-creating some old-time TV pleasures.
  21. Ten years ago, Southland would have seemed revolutionary on TV. But now it does feel like network playing catch-up with cable.
  22. 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.
  23. 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.
  24. There’s potential here for a sharp sitcom about a man who’s kept aging but stopped growing. But too often Sex&Drugs shares Johnny’s arrested development, at the expense of both relevance and comedy.
  25. 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.
  26. Hannah's normalcy is refreshing, and it keeps the show light and funny. But it also makes her seem a little dull and shallow.
  27. There’s a well-intentioned flatness to the money-changes-everything stories so far.
  28. 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.

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