Time's Scores

For 459 reviews, this publication has graded:
  • 38% higher than the average critic
  • 10% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 1.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Game of Thrones: Season 4
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 274
  2. Negative: 0 out of 274
274 tv reviews
  1. Yet as over the top as Millennium can get, the show does succeed at creating a marvelously unrelenting sense of unease.
  2. The cast is appealing -- particularly Hamlin, Eikenberry and Richard Dysart as the firm's fatherly senior partner -- and Bochco has become TV's most expert juggler of plots and characters. Yet the first episode of L.A. Law is considerably less daring than advertised.
  3. It's a self-important but frequently entertaining mix of Ben Casey melodrama and St. Elsewhere-style modernism.
  4. Sleepy Hollow got my attention, but I’m not yet sure if it’s good, ridiculous, good but ridiculous, or good because it’s ridiculous.
    • 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.
  5. 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.
  6. Eastbound & Down, is a funny show if you don't expect too much.
    • 63 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.
  7. Ten years ago, Southland would have seemed revolutionary on TV. But now it does feel like network playing catch-up with cable.
  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. There's something missing from this postapocalyptic drama, namely, a realistic feeling of apocalypse.
  10. As a glorified romance novel, it's perfectly fine, but don't expect Shakespeare.
  11. 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.
  12. Hannah's normalcy is refreshing, and it keeps the show light and funny. But it also makes her seem a little dull and shallow.
  13. Fallon's monologue was understandably nervous and unremarkable joke-wise, but there were glimmers of potential.
  14. It's competent. It also seems a little familiar and unnecessary.
  15. 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.
  16. 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.
  17. Entourage continues to coast in the same zone of amiable purposelessness in which it's spent the last few seasons.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. Life's Too Short can be uncomfortably funny in a familiar way, and if you're OK with the familiarity, you might like it well enough. But the problem with the humor of discomfort, which Gervais pioneered with distinction, is that it doesn't last long when it becomes a comfort zone.
  28. 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.