Time's Scores

For 548 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 0.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Arrested Development: Season 2
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Mixed: 0 out of 333
  2. Negative: 0 out of 333
333 tv reviews
  1. There’s a well-intentioned flatness to the money-changes-everything stories so far.
  2. 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.
  3. It's competent. It also seems a little familiar and unnecessary.
  4. 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
  5. Satirizing smiley faces and leisure suits is hardly fresh, although there's a sweetness and likability to the cast.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. The premiere left the Why?--that is, the show’s purpose and point of view--unanswered.
  11. 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.
  12. 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.
  13. 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.
  14. It's sometimes broadly funny and sometimes broadly bad.
  15. There's something missing from this postapocalyptic drama, namely, a realistic feeling of apocalypse.
  16. 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.
  17. 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.
  18. Banshee's not a terrible show. At times it can be entertaining. But at best it's terribly, entertainingly superfluous.
  19. 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.
  20. Fallon's monologue was understandably nervous and unremarkable joke-wise, but there were glimmers of potential.
  21. The message, overall--insofar as you can take a message from one episode of a talk show, which you can't--is that Conan the show is not so much about a reinvention of the talk show form as a restoration of Conan.
  22. Katie may not be as successful as Oprah, but she does, whatever you think of this format, seem immediately comfortable in it, cracking unguarded jokes but also owning her celebrity.
  23. Like many of ABC's post-Lost attempts at serials, this one has a great premise with tremendous potential, but I wish more attention had been paid to fleshing out the characters and generally bringing a fresher voice to the dialogue.
  24. There are some funny set pieces in the pilot, and enough fruitful interactions with the patients and their troublesome owners that I could see this show developing into a kind of Scrubs with rabies shots, if the characters can develop beyond the familiar menagerie we start out with.
  25. The problem for GCB is that it hasn't yet figured out a way to be a soap that spoofs superficiality without being superficial itself.
  26. While I like how Lee's laid-back style translates to a police drama, there's not enough here to separate the show from the umpteen other slightly-quirky-guy-solves-crimes cable dramas.
  27. It simply too often feels like an unconvincing portrait of poverty and the Gallaghers, like an English council-estate family plopped in the Midwest. The next two episodes depart more from the original, and suggest the series may find its own voice; on the other hand, they're not nearly as well written.
  28. As a glorified romance novel, it's perfectly fine, but don't expect Shakespeare.
  29. Louis-Dreyfus... has a bittersweet charm (and, yes, she can sing), but it's lost amid wacky-neighbor jokes and slapstick.
  30. A globe-spanning series that offers in ambition, action and visual panache what it lacks in coherence, fleshed-out characters and plausible dialogue.

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