Time's Scores

For 527 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 1.7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 The Pacific: Season 1
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Mixed: 0 out of 318
  2. Negative: 0 out of 318
318 tv reviews
  1. It slowly develops into an engrossing look at the methodical nature of police work and the limits of individualism.
  2. On CSI, each victim's body is a rich source of detail, a novel in which the investigators read about deception and murder. The lead characters are another matter. They're sexy and likable but self-effacingly undeveloped. The series tosses us a tidbit every now and then--Grissom is a lapsed Catholic, Willows used to be a stripper--but the show is least original when it delves into their private lives.
  3. while I can't say that it's a great HBO comedy yet--it is not, really, even strictly a comedy in the ha-ha-hilarious sense--it's likeable and absorbing and made me want to stick around for more.
  4. For all the show's cartooniness, its gender-conscious take on the TV business is actually more sophisticated [than Studio 60's].
  5. It’s way too soon to say whether this jumble works, but it’s promising that Extant‘s premiere seems confident enough to play it cool and mysterious rather than hammer us with holy-crap moments.
  6. I've now seen three episodes of Wilfred, however, and I think this bizarre, dark yet oddly good-hearted series has legs. Four of them, at least.
  7. Rather than titillate you with how dangerous Bob's life and position are, the show focuses on how sad, and oddly romantic, his torn-between-two-lovers situation is. And in the pilot, at least, it doers a very good job.
  8. The opening episodes are uneven but show a lot of potential.
  9. Agent Carter‘s writing early on isn’t at the level of the best Marvel films, or even The CW’s new The Flash... But Atwell and the producers (including Michele Fazekas and Tara Butters of the late, clever Reaper) have made something entertaining and engaging enough that you don’t miss the superpowers and spandex.
  10. [Joan is] the most extraordinarily average teen to crop up on a TV show in years--yet after a few episodes, you realize you would watch her story even if God stopped showing up.
  11. Other Space may not be TV’s, or streaming’s, next great comedy. But it’s a welcome and unexpected treat.
  12. Imperfect but chilling.... In the end, Sleeper Cell is every bit as nailbiting as 24, with one crucial difference: neither the terrorists nor the Feds are supergeniuses.
  13. Often True Detective is too much about the performances–there’s something very actorly about it, setting up McConaughey in particular with set pieces and monologues that, while exquisitely written on the page and probably potent Emmy-bait, would be twice as effective if there were half as many.
  14. So far, it's carried mostly on the scary-eyed charisma of Summer Glau as John's robo-protector. This grim Chronicles needs to put some flesh on its humans.
  15. While not as mind-blowing as the last season's finale (which had me finally buying into the show after a season on the fence), does a good enough job continuing to run with the parallel-universe scenario established toward the end of season one.
  16. The premise is different from Gilmore but the theme of starting over, the snappy dialogue and the offbeat charm are very similar.
  17. Nip/Tuck is neither pretty nor perfect, but it is a provocative, painfully funny drama--warts and all.
  18. It has some voice and verve, but it's definitely no Shield yet--either in content or innovation--and like a new rookie on patrol, I'm putting it on probationary status for now.
  19. Sophisticated and sympathetic, Unscripted has a lot going for it... But it also finds HBO--the network for people who disdain formulaic TV--falling into a formula.
  20. It can be claustrophobic; it can be, as Marc’s Twitter hater tells him in the first episode, “whiny.” But it can also be quite funny, as Maron’s instinctive kvetchiness runs up against the practicalities of life.
  21. None of these [new sci-fi] series matches Lost's mix of character, wit and story, but the grim Invasion at least has the story part down, and keeps the horror at a nicely restrained simmer
  22. Margulies vanquishes her ER heroine image, but bad dialogue and dull legal stories undermine her case.
  23. The monologue was the sharpest part of Meyers’ first hour on the air (a departure from Fallon, whose monologue has never been his strength)–brisk, punctuated with self-deprecation, and wide-rangingly topical.... The distinguishing thing about the first night of Seth Meyers, in other words, was Seth Meyers, and the hour dropped little hints about how his personality and interests might shape the show.
  24. Some of the later episodes (I've seen four) are uneven, and the stories sometimes have the feel of standup riffs literally adapted for the screen. But even those can be funny and well-observed.
  25. With his deft timing and vaudeville hamminess, White brings such extravagant high spirits to the role that he is hard not to like.
  26. It's fun if a little forgettable, and the joy it takes in its characters discovering their new powers so far works better than the fairly familiar parent-child conflicts and midlife crises that play out in the background.
  27. At its best, which is very good, Brooklyn Bridge rings with fresh and funny childhood observations.
  28. Homefront is a slick, satisfyingly busy soap opera.
  29. The echoes of To Kill a Mockingbird and The Member of the Wedding are hard to miss, and the show's two-hour pilot moves as slowly as, well, molasses in January. Yet producers Joshua Brand and John Falsey (St. Elsewhere, Northern Exposure) have created a drama of rich texture, few tricks and much truth.
  30. The first episode is zippy, slick-looking, and Whedonistically funny. It also seems much more limited in its ambitions than Whedon’s past TV shows; it seems to be set up largely as a procedural in which the agents defuse various threats of the week.

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