Time's Scores

For 546 reviews, this publication has graded:
  • 39% higher than the average critic
  • 8% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 0.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Crime Story: Season 1
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Mixed: 0 out of 331
  2. Negative: 0 out of 331
331 tv reviews
  1. 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.
  2. 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.
  3. Nashville's was the one that made me most excited to see more episodes of the series and see how its world unfolds.
  4. 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.
  5. 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.
  6. In the three episodes sent to critics in advance, Community sounds like itself again.
  7. 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.
  8. The Dust Bowl is a powerful documentary about what human efforts can achieve and what short-term thinking can wreak.
  9. 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.
  10. At its best--and the first three episodes of the season among the show’s best--Amy Schumer’s comedy is often intensely about herself.
  11. 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.
  12. It makes for a slow but haunting last beginning. The final overture is well-orchestrated by Weiner.
  13. 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.
  14. 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.
  15. 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. "
  16. 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.
  17. House of Cards isn't wholly original. But it is supremely confident.
  18. The opposition is less well-drawn.... But the plot advances, slowly and inexorably as the gears of bureaucracy, and Hero‘s emotional power builds as it focuses on the townhouses’ new residents and the initiative’s power to change their lives.
  19. As the series itself develops (it was somewhere in episode 3 that I really got on board), all these broad-strokes characters add together into a more complex whole.
  20. It de-emphasizes what I thought was worst about the original–the shooting-fish-in-an-aquarium reality-TV satire–and builds on what was best: Lisa Kudrow’s microcalibrated performance, and its cringe-making yet sympathetic depiction of an actress, now around 50, trying to make it in an industry that stamps a sell-by date on women.
  21. The result is the most promising show in years for Starz, which since Party Down’s glory days has focused on blood-heavy spectacles like Spartacus and Black Sails or morose antihero dramas like Boss and Magic City.
  22. Kids are drawn by the show's loopy slapstick, grownups by its dry (so to speak) wit.
  23. An improbable, heart-pounding and-tugging mix of fantastical '60s spy chic and emotionally realistic drama ... Ridiculous, over the top but unashamed, it manages to thrill and win our hearts.
  24. While The Roosevelts is, yes, long and at points fast-forwardable, in its best moments it gives human breath to a well-covered period of history, all in service of an idea: showing the ways that, through these generation, America matured and changed.
  25. 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.
  26. Like the dystopian British anthology Black Mirror, Humans is a sci-fi premise smartly reimagined for our own age of tech outsourcing.
  27. A low-key but moving documentary about these two low-key people and their moving struggle.
  28. Younger sells it through Foster’s agile charm and its refusal to make any of its characters into punching bags. (TV Land sent out the full season for review; I’ve seen five episodes.) Like its protagonist, the ideas behind Younger have been around the block a few times. But it doesn’t show its age at all.
  29. Refreshingly, Looking doesn’t contort itself to create a character to represent every different aspect of “the gay experience.”
  30. The funniest new sitcom of the spring ... What makes Universe funny and not just wacky is that it uses the qualities that endeared viewers to Richter's Late Night persona--the affable, moon-faced cynic--making the character the kind of sweet but snarky dreamer you would want in the next cubicle.

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