Time's Scores

For 505 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 Bridalplasty: Season 1
Score distribution:
  1. Mixed: 0 out of 305
  2. Negative: 0 out of 305
305 tv reviews
  1. 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.
  2. 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.
  3. 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.
  4. The morals of this provocative show are as intriguing as its cases.
  5. Prohibition provides a detailed, engaging postmortem of a very, very bad idea.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. What’s most compelling about The Bridge is that it emphasizes not the psychology or forensics of the case but its context.
  11. 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.
  12. In its early hours, Last Resort lays in enough plot and character provisions to potentially last a long, long journey.
  13. The dialogue's still pulpy, but its action story is the bomb.
  14. 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.
  15. 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.
  16. 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.
  17. An imaginative departure from the sea of indistinguishable sitcoms on the networks this fall.
  18. 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.
  19. 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.
  20. Nashville's was the one that made me most excited to see more episodes of the series and see how its world unfolds.
  21. It’s very good, a swift-moving crime thriller that also takes the time to measure the effects of the crime on Tony and Emily’s marriage, their state of mind, and the lives of the French townspeople who were drawn into the investigation and may be again.
  22. The show's dialogue is possibly the fastest on TV, the stories are briskly paced and unobtrusive, and Shepherd gets lots of loving close-ups. Moonlighting is a snazzy entry that deserves a full-time job on ABC next fall.
  23. In the three episodes sent to critics in advance, Community sounds like itself again.
  24. 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.
  25. The Dust Bowl is a powerful documentary about what human efforts can achieve and what short-term thinking can wreak.
  26. In each one [hour] that we do see, there’s a sense of urgency in the face of change, of characters figuring they have maybe one more chance to get themselves where they want to be.
  27. Gotham is not reinventing the dark cop show, or the dystopian drama, or the superhero genre. But it combines them in a way that’s invigorating–and, honestly, it’s probably better than a new series with this built-in fanbase needed to be.
  28. The first newscast did feel simultaneously long and breathless, maybe because there was little to vary it or break up the topic segments.... But it was a funny, confident start.
  29. 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.
  30. 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. "

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