Time's Scores

For 644 reviews, this publication has graded:
  • 40% higher than the average critic
  • 7% 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: 64
Highest review score: 100 Orange is the New Black: Season 4
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Mixed: 0 out of 390
  2. Negative: 0 out of 390
390 tv reviews
  1. Literature has capitalized on the tensions in I Love Dick for decades, if not centuries. But TV--so often praised these days as being novelistic--has been far less able to capture the true inner turmoil of being a person. This story of wrongheaded lust gets it right.
  2. It all adds up to a drama that's strikingly filmed, gratifyingly smarter than it needs to be and--better still in an era of bloated episode counts--snappily paced. The Sinner has the zip of a good detective yarn.
  3. The Wiz is by far NBC’s most sophisticated live musical broadcast yet; it’s also one that felt, movingly, of its time.
  4. It subversively places white resentment at its center and dares us to look away, telling us that arson, violence, and outright bigotry are light comedy even as something in our minds tells us that’s not quite right. The show comes closer, in its twisted way, to suggesting why Americans embrace the politics of division than does much on-the-ground journalism.
  5. The fifth season of the series continues in the pitched, passionate style that's Orange at its juiciest.
  6. Some elements are so Showtime-comedy-like (the eccentric teen child, e.g.) as to seem a little repetitive. But the show depends above all on Laura Linney's performance, and so far it's entrancing.
  7. While it's not as knock-your-socks-off as the pilot (while retaining some of the same problems), it continues to show why, at its best, this is the freshest and most joyful new show of the year.
  8. A lot of this was great fun. ... The grace notes the show allowed itself--the witty depiction of Shelby as a bougie yoga lover who likes her evening glass of wine maybe a little too much, the unapologetic plot holes that garishly remind you that yes, this is a horror story--were actually allowed to resonate, rather than being muffled by too much too-muchness.
  9. Queen Sugar does not occupy a soap opera's heightened reality, nor does it trade in clichés. Each detail--from Nova's impassioned, elegantly constructed arguments against mass incarceration to Ralph Angel's lack of concern that his son prefers Barbies to Transformers--feels carefully chosen to represent nothing more, or less, than people stumbling toward their best selves.
  10. Rubicon is not a show for the impatience, and it has the kind of ambitions that could set viewers up for a letdown. But so far, I admire its intelligence.
  11. The morals of this provocative show are as intriguing as its cases.
  12. Prohibition provides a detailed, engaging postmortem of a very, very bad idea.
  13. It's intriguing and promising that season four kicks off with another detour–this time into the past–that connects to Harlan County here and now.
  14. The crisp editing of the Arya sequence, exploiting dramatic irony right up to the breaking point, was one among numerous scenes that seemed to indicate Thrones isn't just keeping up to its old standards but actually learning new tricks. Another was the introduction of Samwell Tarly's life in Old Town--who knew this show, which has mastered wartime action but had never produced a quickfire sequence quite like this one, with its repetitive chamber pots to be emptied, could be quite this sharp?
  15. The pilot... iis actually the least funny of the three episodes I saw; in the other two, "Sarah" and the other characters are much better developed and the stories hang together better. Still, it's an acquired tastelessness.
  16. 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.
  17. 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.
  18. What’s most compelling about The Bridge is that it emphasizes not the psychology or forensics of the case but its context.
  19. Yes, satirizing the suburbs is an age-old theme in entertainment, but Suburgatory feels like it's thought through what specifically there is to say about the burbs of 2011. And so far, I like the way it says it.
  20. It’s serious and it can be stark, but it’s also funny and brisk, a coming-of-age story with a sense of adventure.
  21. Fortunately, as reminders of one’s inexorable mortality go, First Day of Camp is good fun. Like the original (set on the last day of summer camp), it’s a machine constructed of pop parodies and well-curated period references (“He’s a total fox, like a young Larry Wilcox!”) that conceals an actual beating heart.
  22. Switching from subdued to rageful, actor Jodie Comer convinces you both Ivy's fears and her feral side.
  23. In its early hours, Last Resort lays in enough plot and character provisions to potentially last a long, long journey.
  24. The dialogue's still pulpy, but its action story is the bomb.
  25. Over the first four episodes, Family Tree doesn’t have the gut-busting, excruciatingly funny moments of Guest’s movies--no Stonehenge here--but it adds a warmth to the usual pathos of his characters, and O’Dowd’s hangdog charm is a good match for the story.
  26. 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.
  27. As a whole, Treme is a kind of intimate, loose, indie-film version of TV, its various stories almost an anthology connected by musical moments.
  28. As a crime drama in the vein of a more sprawling Law & Order or a less philosophical True Detective, The Night Of succeeds wildly.
  29. An imaginative departure from the sea of indistinguishable sitcoms on the networks this fall.
  30. It's not a movie for music geeks, in the sense of unpacking the band's influences or closely analyzing how their songs worked. Instead it links the music to the members' stories, trying to capture how the electricity of the group's personalities created art. It's not a revelation, but it's an intimate story of the band.

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