Time's Scores

For 491 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 1.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Girls: Season 1
Lowest review score: 0 Bridalplasty: Season 1
Score distribution:
  1. Mixed: 0 out of 295
  2. Negative: 0 out of 295
295 tv reviews
  1. VR.5 is a science-fiction TV show that Patricia Highsmith might have written. For all its vividly colored effects, it is above all an exploration of the unsolved mysteries of Sydney's interior life.
  2. An imaginative departure from the sea of indistinguishable sitcoms on the networks this fall.
  3. The show's grungy ambience and gleeful puncturing of TV ideals of happy domesticity have made it the most daring new sitcom of the fall.
  4. The season's best new sitcom. ... Reiser, a former stand-up comic, has knife-edge timing and a full repertoire of nervous tics, and Hunt manages to be both charming and exasperating at the same time.
  5. The show becomes more engrossing as is spins out from her story, fleshing out the inmates, their backstories, and their alliances. You may come for the culture-clash cringe-comedy; it’s the real human stories that will have you captivated.
  6. What’s most compelling about The Bridge is that it emphasizes not the psychology or forensics of the case but its context.
  7. Brooklyn Nine-Nine is easily the fall’s strongest comedy pilot, clever, appealing, feeling thought-through and lived in after only a half-hour.
  8. The charming pilot swerves quickly from the expected Bravo-reality-show-catfight scenario and becomes something more complicated and rewarding: a good-hearted comedy about an extended family (including Pete’s two ex-wives) figuring out how to make itself work on the fly.
  9. In the three episodes sent to critics in advance, Community sounds like itself again.
  10. Refreshingly, Looking doesn’t contort itself to create a character to represent every different aspect of “the gay experience.”
  11. While Broad City is not heartwarming comedy, there’s an undertone of need and connection between them that helps their friendship make sense: Ilana needs Abbi’s dependability, Abbi needs Ilana to give her a kick into gear. Together, they give the early episodes an off-kilter sense of fun that recommends sticking around for more. Broad City is not the next Louie yet, nor should it try to be, but it’s a promising version of itself.
  12. It offers a quiet, empathetic picture from the perspective of Romney and his family of what it’s like for a human being to experience the glare of a modern media campaign and to offer himself up for rejection, twice.
  13. In each one [hour] that we do see, there’s a sense of urgency in the face of change, of characters figuring they have maybe one more chance to get themselves where they want to be.
  14. As the series itself develops (it was somewhere in episode 3 that I really got on board), all these broad-strokes characters add together into a more complex whole.
  15. The first newscast did feel simultaneously long and breathless, maybe because there was little to vary it or break up the topic segments.... But it was a funny, confident start.
  16. It’s a first draft told by a first responder, with no time for niceties. But it is deepened and rounded out by some remarkable supporting performances, especially a fantastic Jim Parsons as Tommy, a warmhearted activist volunteer.
  17. Even the best version of The Leftovers, if it proves a complete creative success, will not be a show for everyone. Yet it believes fervently, messily, heartbreakingly, that even two percent of everyone means more than you can imagine.
  18. There’s a certain amount of melodrama in the premiere (which is all that was previewed for critics), but the beginning fits a fair amount of nuance into a package that could have been a soapbox. Ireland in particular gives Christine fine shading, and the way that race plays into the story--and into Adam’s career ambitions--feels more natural than engineered.
  19. What works about The Honorable Woman is how well its particular story and larger themes echo each other: trust and mistrust, hope and disappointment, resentment and revenge, repeating for generations.
  20. The result is the most promising show in years for Starz, which since Party Down’s glory days has focused on blood-heavy spectacles like Spartacus and Black Sails or morose antihero dramas like Boss and Magic City.
  21. While The Roosevelts is, yes, long and at points fast-forwardable, in its best moments it gives human breath to a well-covered period of history, all in service of an idea: showing the ways that, through these generation, America matured and changed.
  22. Gotham is not reinventing the dark cop show, or the dystopian drama, or the superhero genre. But it combines them in a way that’s invigorating–and, honestly, it’s probably better than a new series with this built-in fanbase needed to be.
  23. There’s enough talent and intensity here for me to step behind the tent flap, to see if all this can cohere into something super freaky.
  24. [A] captivating, slow-burn emotional mystery.
  25. MasterChef Jr. is the most delightful, cathartic reality competition on TV because it lets you see contestants taking unsullied pleasure in what they can do.
  26. It de-emphasizes what I thought was worst about the original–the shooting-fish-in-an-aquarium reality-TV satire–and builds on what was best: Lisa Kudrow’s microcalibrated performance, and its cringe-making yet sympathetic depiction of an actress, now around 50, trying to make it in an industry that stamps a sell-by date on women.
  27. It’s very good, a swift-moving crime thriller that also takes the time to measure the effects of the crime on Tony and Emily’s marriage, their state of mind, and the lives of the French townspeople who were drawn into the investigation and may be again.
  28. There are signs that the premise may not sustain for long (the title, after all, gives it only a week), but it still shows that a good pratfall is the universal language.
  29. The new episodes quickly jump back in, with higher stakes and sharper jokes, and creator Josh Schwartz hasn't let the strike stop him from developing Chuck's character.
  30. Its stripped-from-the-tabloids approach is nothing new, but it's well done, and a little familiarity won't hurt the show's chances.

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