Time's Scores

For 539 reviews, this publication has graded:
  • 38% higher than the average critic
  • 8% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 1.4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Game of Thrones: Season 5
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Mixed: 0 out of 326
  2. Negative: 0 out of 326
326 tv reviews
  1. 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.
  2. As homage to the unclean gymnastics of p.r., Spin City is certainly the season's most believable new sitcom. And also by far the best.
  3. 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.
  4. Interspersed with cover songs, Spectacle is an engaging showcase for a curious mind.
  5. The conceit is absurd, to be sure; the focus on ill-suited lovebirds-in-the-making, well worn. But the show somehow manages to mine subversive comedy from this unpromising vein.
  6. 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.
  7. 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.
  8. 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.
  9. This brilliantly executed concept--the title, the casting, the squiggly tornado CGI--was the most delicious chum, and we are creatures of instinct.
  10. On its own, the show’s concept might have just been a throwaway 30 Rock subplot; what sustains it is how it applies the concept of unbreakability beyond Kimmy. Each character is a survivor.
  11. While it's a rough, sometimes grim, process, it feels that much more well-earned when, at the end of the first episode, one student, Bobby–who struggled to speak for himself in mock interviews–visits a future class to report that he's held a carpentry job for a month.
  12. 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.
  13. 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.
  14. 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.
  15. The morals of this provocative show are as intriguing as its cases.
  16. Prohibition provides a detailed, engaging postmortem of a very, very bad idea.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. What’s most compelling about The Bridge is that it emphasizes not the psychology or forensics of the case but its context.
  22. 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.
  23. 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.
  24. In its early hours, Last Resort lays in enough plot and character provisions to potentially last a long, long journey.
  25. The dialogue's still pulpy, but its action story is the bomb.
  26. 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.
  27. 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.
  28. 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.
  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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