Time's Scores

For 478 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 1.5 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 Bridalplasty: Season 1
Score distribution:
  1. Mixed: 0 out of 286
  2. Negative: 0 out of 286
286 tv reviews
  1. It will repay you with a brutal but eloquent story that's finally less about how men fight and die than what happens to them when they fight and survive. It will show you how character and sheer, unfair randomness combine to produce cruelty or decency. And it will make you feel deeply for the men who return.
  2. I can't recommend the series highly enough, particularly for the phenomenal performances by Lewis and Danes.
  3. It's raw, audacious, nuanced and richly, often excruciatingly funny.
  4. Looking Music Hall-size glamorous on the big screen, Behind the Candelabra is a TV movie only in its sage, nuanced and closeup concentration on the emotional tensions that bind two people, then break them apart.
  5. Astonishing. ... The Shield did what network cop shows have lately abandoned: it created a richly imagined world with continuing story lines, driven by L.A.'s roiling racial politics--achieving a payoff far bigger than solving the murder of the week.
  6. In looks and structure, Arrested Development is like a 30-min. drama, just a hilarious one. In most network sitcoms nowadays, the wisecracking characters are aware that they're being funny. The oblivious Bluths are funny despite themselves.
  7. Twin Peaks ... is like nothing you've seen in prime time -- or on God's earth. It may be the most hauntingly original work ever done for American TV.
  8. HBO’s fantasy series is as stirring in its action, as rich in characters, and more sweeping in scope as ever.
  9. [Louie] was and remains one of the best on TV--in any given week, maybe the best, period.
  10. There's plenty of action, suspense and sci-fi stuff in Torchwood: COE, but what makes it an unmissable event is how well it sets up its dilemma--a classic conflict over whether the needs of the many outweigh the needs of the few--and how maturely it deals with both the morality and the politics of the premise.
  11. It all makes for a rich, captivating series to look at. And listen to. Even, or especially, when it's not saying anything at all.
  12. The changes that have come to Mad Men can be discomfiting to watch. But they're rich with possibility.
  13. Secrets, threats, Viagra--Big Love was always going to be interesting TV, but what makes it first-rate drama is how confidently it moves past exoticism to the ordinary universals of family life.
  14. They have done what many well-intentioned socially minded writers have tried and failed at: written a story that is about social systems, in all their complexity, yet made it human, funny and most important of all, rivetingly entertaining.
  15. It's worth the effort, not because The Wire is good for you but because it is fantastic entertainment.
  16. Rapper Sean Combs holds his own as ambitious son Walter Lee Jr., but Phylicia Rashad is devastating as a matriarch trying to hold her family together when a dream deferred turns dangerous.
  17. Thus begins the final season of a cerebral space opera that asks what it means to be human.
  18. Colbert is the series' rock, and a straightman contrast to the constantly yammering Person, his driver. As the stoic enigma and the hopped-up smart-ass speed through the desert landscape, you could almost take Kill for a surreal road comedy.
  19. It's a drama that has chosen the slow burn over the flashy explosion, and it's all the hotter for that choice.
  20. This is law drama such as Boston Legal's David E. Kelley can only dream about.
  21. This is the funniest sitcom pilot of the fall.
  22. A top-flight cast, including Lizzy Caplan and Martin Starr (and this season, Megan Mullally, stepping in for Lynch), who make the show's scripts play like improv. Above all, the show's ambition to be both raunchily funny and emotionally real to characters who are watching their dreams get older one day at a time.
  23. The early episodes of season three, though, find SoA retaining what there was to love about it--the well-drawn characters, including the strong women in SAMCRO and its orbit--while expanding the show as well.
  24. Like a good whiskey, it's rough and smooth in all the right ways. By a few episodes in, you'll want to order it by the case.
  25. I've seen two weeks of the season, and so far I'm rapt. In Treatment may be in uncharted ground with its new, original stories, but it remains a show that rewards patience, and patients.
  26. By combining the traditional elements of spy dramas (and spy parodies) with office comedy, this look inside the halls of ISIS manages to be both an effective spoof and an effective character sitcom.
  27. Watching Game of Thrones is like falling into a gorgeous, stained tapestry. This epic, unflinching fantasy noir takes our preconceptions of chivalry, nobility and magic and gets medieval on them.
  28. The BBC's The Hour, the best new show this summer.
  29. It's all breathtaking in much the way that you'd suspect.
  30. Sherlock, which impresses again in the three-episode season that returns on PBS.
  31. It is surely is Mamet’s strongest drama in ages, and a seductive, devious essay on the tortured celebrity soul.
  32. It’s a sumptuous pleasure to go through one doorway and another, feeling all the while the dawning knowledge that someday we will turn a corner, and come to the last.
  33. By the standards of most TV crime stories, the meditative Rectify may instead seem like too little. But it’s entrancing at showing how, in some circumstances, just getting through a day is drama enough.
  34. The most distinctive, addictive new TV series this season. As an old-fashioned thriller, it's relentless, tense and deliciously paranoiac, with more twists than a Twizzler. But it's also boldly different.
  35. [The Wire's] attention to detail, plus a vast canvas of characters, makes for a dense boulder of a story that moves creakily for the first couple of hours. But once it gets rolling, it's irresistible because of the humanity creator-writer David Simon finds in his characters.
  36. It's ironic that NBC's most original sitcom in years is a remake, but who cares? The Office is a daring, unflinching take on very American workplace tensions.
  37. Funny, probing and unsentimental, House may shock the systems of viewers used to sweetie M.D.s like ER's Dr. Carter. But as an honest look at techno-medicine and the prerogatives of genius, it's a tonic.
  38. A satisfying, touching and excruciatingly funny severance package.
  39. It is not just one of the most moving but also one of the funniest shows you will see this year: a sort of post-9/11 M*A*S*H.
  40. EZ Streets sustains a mood of despair unlike any other drama on television. ... And yet, for all its solemnity, EZ Streets somehow manages to avoid melodrama.
  41. Murder One remains a fine legal thriller with a robust, well-observed appreciation for the egotists who are drawn into the web of splashy criminal trials.
  42. There is probably more incisive humor in one hour of TV Nation than in a season of Murphy Brown.
  43. Stiller is capable of turning out a dead-on TV or movie parody, like his takeoff on Cape Fear, with a grownup Eddie Munster as the De Niro-esque psycho. But he rarely settles for the frisson of a good impersonation; his sketches usually give the satiric knife an extra twist or two.
  44. A crackling good TV show, probably Bochco's best since Hill Street Blues. Better than Hill Street in some ways: sleeker, more focused, less distracted by those often annoying comic interludes.
  45. It's probably the most realistic fictional treatment of the medical profession TV has ever presented. The pace is furious, the narrative jagged and unsettling.
  46. It’s a beautiful downer, a perceptive and acute one, whose empathy distinguishes it from some of its peers.
  47. It's an absorbing, beautifully acted story about science, emerging feminism and American culture. But it's also a gamble on the idea that great TV drama can involve stakes that are not sharpened to pointy tips.
  48. [A] haunting, creepy, and beautiful French series
  49. A TV series that’s well-made, thought-provoking, deeply moving.
  50. It’s not that that second What It’s About--the emotional heart of The Americans--is better, more noble than the first. But it’s the difference between an exciting thriller premise that flames out fast and a story with lasting power--demonstrates better than ever.
  51. Silicon Valley is the funniest out-of-the-box pay cable comedy in a good while.
  52. Daisies has a timeless, picture-book look. It could be set today, in the '30s, in the '70s or in any other decade fond of saturated color. Like Chuck herself, it's a perfect candidate for a second chance: as glowing and lovable as the day we first met it.
  53. The premise of ABC's Life on Mars is ludicrous but irresistible.
  54. At least in the first four hours... the show reminds us of the intense thrills it can provide even without threatening to blow up the entire planet.
  55. The morals of this provocative show are as intriguing as its cases.
  56. The show is filled with Lettermanesque non sequiturs and '70s pop-culture arcana... but it has heart too.
  57. 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.
  58. It's far-fetched. It's outlandish. You will think you are too smart to get suckered in by it, but give it a few minutes and you will be proved wrong.
    • 75 Metascore
    • 80 Critic Score
    It's the strong cast, especially Bryce Dallas Howard as witty, strong-willed Rosalind, that gives this East-West fusion its flavor.
  59. High School Musical 2's audience already knows how this movie ends. But they'll watch and re-watch because it has such an unembarrassed good time getting there.
  60. Packing a sharp designer shiv, this clever saga of haves vs. have-mores proves the East Coast can be as enjoyably sudsy as the West.
  61. It's an uneven Coen Brothers--like mix of dark comedy and darker moral drama, but Cranston is amazing as a desperate, conflicted gangsta-nerd.
  62. The dialogue's still pulpy, but its action story is the bomb.
  63. It's also, judging by the pilot, flawlessly art-directed, full of well-chosen period music and--for a drama about a country searching for its bearings in its bicentennial year--a lot of fun.
  64. It's true that Mad Men is deliciously curated, from the omnipresent cigarettes to the rocket-cone brassieres (and casual sexism) to the cool modernist sets. But the subtle, deliberately paced drama has a wider sense of history.
  65. The realism doesn't extend to the exaggerated characters and plots, but if you focus on the sharp dialogue (and aren't an easily worried parent), these students earn a solid ... B.
  66. Shot intimately with handheld camera, it's a moving but unsentimental celebration of community, of pulling together not just because it's right but also because it's necessary.
  67. This My Name Is Girl concept may be outlandish, but Ex List is also fresh and raunchily funny (there's a scene in the pilot comparing feminine waxing choices to historical figures--the "Hitler," the "Gandhi") and Reaser is winning and adorable.
  68. Interspersed with cover songs, Spectacle is an engaging showcase for a curious mind.
  69. Big Love quickly settles you into its odd setting. The particulars of the Henricksons' lives--their intrigues and secrecy, yes, but also their familiar family dynamics and sincere faith--are presented, simply and unpatronizingly, as the reality of the show's universe.
  70. All this has the potential to be a little corny, but Ladies' is that rare show that manages to be uncynical without being cloying.
  71. The five episodes NBC sent out don't, to my eye, reach the heights Chuck hit toward the end of its season 2 run. But after a major change in the show's premise--rather than being a sad sack nerd dragged into the spy-life, Chuck is now a certified ass-kicker, thanks to getting some superpowered brainwaves--the show successfully changes gears while keeping everything that's best about it.
  72. 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.
  73. I will say that the show really has a handle now on Leslie Knope (Amy Poehler), who comes across as an overzealous but sympathetic bureaucrat, not a ninny. That it is doing an excellent job of finding things for its supporting characters to do, suggesting it may someday have the bench strength of a show like "The Office. "
  74. The first episode is, maybe to grab the young-guy audience, heavier on the sexplay and lighter on the laughs. But two or three episodes in, the characters and dynamics come together, and the show really begins to kill. Literally and figuratively, but mostly figuratively.
  75. Bored to Death is good, very good--but it's pilot isn't, so it wouldn't be terrible to miss it or see it late.
  76. Parenthood shows a funny, affecting, distinctive voice that you'll want to keep listening to.
  77. The result is a new-style western that's both entertaining and as mesmerizing as Givens' cold-blooded speech to the crook with the scattergun.
  78. 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.
  79. The clever, engaging script and Blonsky's performance--plus the refreshing idea of a teen drama not entirely populated by assembly-line pinups--promise a summer diversion with a little more than usual dramatic meat on its bones.
  80. 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.
  81. 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.
  82. Like its characters themselves, Terriers has higher aims, but its appeal comes from being likeable and familiar. It balances its running storyline with individual cases, carried largely by Logue and Raymond-James' charm.
  83. I hope it's not an old-man thing to say, and that you don't have to be an old man to appreciate it, but the truth that Men understands is that just getting through the day is drama enough. Here's looking forward to another year.
  84. If The Walking Dead can build on its promise and run with these ideas, along with unflinching gross-out thrills, it can tell a doomsday story with all the things zombies crave: brains, guts and heart.
  85. It starts and finishes strong, and in between, it passed the most important test this non-boxing-fan could hold it to: when I finished one episode, I immediately wanted to put another in.
  86. The first two new episodes are better focused and often affecting but don't quite cohere, possibly in part because of the mop-up work left after the whirlwind of season four. The third episode sent to critics, however, is one of the strongest the show has done in a while, possibly since the excellent third season.
  87. On paper, it sounds like another sitcom dedicated to the tired idea that relationships are forced on men like collars on dogs, the leashes held by annoying, fun-killing women. And yet I enjoyed the show more watching it than I find I am describing it.
  88. The Killing itself is a slow burn, or rather drizzle. Three episodes in, I can tell you that I'm drawn in by the characters and eager to see a fourth; I can't guess whether the story is finally going to be satisfying, and the show is deliberate and sparing in parceling out details on the case.
  89. The second season, beginning in 2006, about a year after the last, will probably not change minds among lovers or haters. There's somewhat more capital-D drama to the early episodes.
  90. There's a sweet, good-hearted minuteness of observation to the show, which manages to work in middle-of-the-night wakings and diaper changes without going for obvious gags.
  91. 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.
  92. Prohibition provides a detailed, engaging postmortem of a very, very bad idea.
  93. If Downton's staging and dialogue can be too on-the-nose, the characters are still drawn with great subtlety.
  94. Luck too is far from perfect, but I found a lot to love in its rough edges.
  95. A low-key but moving documentary about these two low-key people and their moving struggle.
  96. Awake manages something impressive: it focuses unflinchingly on the subject of loss, yet manages to be not a downer or painful to watch, but moving, absorbing and even hopeful.
  97. It is, in other words, one more cable reality show about fabulous women. But in this case, the same old reality show is a refreshing change.
  98. The people around Jackie made me stick with this show even when its main storyline was going nowhere, but now that it's committed to really engaging with its title character, it's become appointment TV for me again.
  99. As a documentary, Vito is fairly straightforward, but by finding a thread connecting Russo's life, his passions and his times, it manages to be something more.

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