Time's Scores

For 538 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 Behind the Candelabra
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 325
  2. Negative: 0 out of 325
325 tv reviews
  1. With the necessary caveat that it’s fruitless to “review” a late-night show after one night ... [the panel discussion] is the segment that will need the most work. ... Maybe the most important first impression from a talk show’s first night is simply point-of-view: does the show know what it is, and why it is? Here The Nightly Show really has something going for it.
  2. Mad TV has an edginess that Lorne Michaels' once revolutionary show [SNL] has long lacked. ... Of course, Mad TV is not without its lapses. Though it has steadily improved since its unpromising early episodes, there are still sketches so heavy-handed in their attempt to appear politically incorrect that they are virtually unwatchable.
  3. The band has a refreshing scruffiness but except for Joe gets too little screen time to leaven the formula slickness.
  4. While the pilot didn't blow me away, there's enough in its premise (the mob comes to Las Vegas in the early '60s), its casting (Michael Chiklis as a gangster and Dennis Quaid as his sheriff adversary) and its seeming ambition that make me more interested in it than in most new shows this fall.
  5. The series needed a change-up and season 3 provides one, a bit; Frank is not fighting to get somewhere but to stay where he is, and his enemy is not so much a single Big Bad as it is the processes of government and diplomacy. When he’s off-balance, we are, and that makes the plot turns more interesting.
  6. While it's haunting, cerebral and gorgeous, it's also a little cold, though the flashes of humor help. Like its actives, it's a marvelous piece of engineering. But I hope it develops a personality of its own.
  7. In all, it's a polished pilot, but one that will have to ground its characters better to work as a series.
  8. It's worth hopping on this poetic, profane story of frontier money lust before it rides into the sunset.
  9. What the pilot does have is simple charm, and enough laughs to give me a gut feeling that this show can build on the setup of a brother-sister pair who, between the two of them, make approximately one functional adult.
  10. Like its endearingly flawed protagonist, Ugly Betty is promising but not perfect.
  11. For all its cheekiness and raunch, Skins has more sweetness than snarky teen soaps like Gossip Girl.
  12. The show's conversational improv rhythms and realistic, documentary style make Sons and Daughters worth adopting.
  13. While the busy first hour scarcely has time to set a premise and lay down a beat, it promises all the glitter and heightened emotion its genre mashup implies, if it can keep its pathos from sliding into parody.
  14. What gives Revenge the potential to last as an ongoing series (after all, doesn't Emily have to run out of victims?) is the well-drawn characters and the sense that Emily does have a conscience beyond the desire for payback.
  15. Maybe the most encouraging thing about this intriguing but imperfect Young Norman Bates Adventures show is that, in a time when dramas are determined to hook viewers with rapid-fire twists, it takes its time answering.
  16. The college was saved and the show was saved, but that left each with a question: what now? The first two new episodes still seem to be figuring it out. Community still feels very much like the same show in tone, sense of humor and production quality.
  17. I’m less sure what the season will do with the potentially volatile racial themes the premiere hints at. But AHS seasons have always thrived on the philosophy of risk and excess. So far, the first episode of Coven is a stylish introduction (complete with black hats).
  18. The show, starring Six Feet Under’s Rachel Griffiths (as the camp manager going through a divorce from her husband/business partner), has sweetness and good-hearted humor.
  19. Francis needs a stronger nemesis, if not for the sake of justice then for the sake of excitement. And House of Cards would be a greater show if it had characters who were people more than game pieces. Still, on its limited terms, it’s absorbing to watch as a story of, in Underwood’s preferred metaphor, the climb up Washington’s “food chain,” one with two kinds of creature: hogs at the trough, and hogs to the slaughter.
  20. A sharp if uneven Whitmanian sampler.
  21. The Walking Dead is starting season 2 much more strongly than it ended season 1.
  22. What Prison Break lacks in plausibility--basically, everything--it makes up for in plotting, pacing and panache.
  23. At moments, it’s like [Season 3 of] Homeland blew up not just CIA headquarters but season 2 itself. That is, it’s a version of what it might have been like if--as was apparently the original plan--Brody’s explosive vest did go off in that government shelter at the end of season 1. And it works, mostly, at least for the two hours of the season’s beginning.
  24. It may well not be your thing, but if it is, the first four episodes of The Strain have enough stylish gore, enough well-paced mystery and little enough self-seriousness to keep you watching, giggling, through your fingers.
  25. It's not essential anymore, but it's still welcome.
  26. Edelstein’s sympathetic performance grounds a show that often otherwise plays like young-adult fiction for actual adults. For every raw, bitter moment, there are many Hollywood caricatures and swank party scenes to make the cocktail go down easier.
  27. After three episodes, I have to say it’s... pretty good.
  28. Has the same quick-cut look, crisp dialogue and bone-crunching game scenes [ast the movie].
  29. I'm interested but not engrossed, though it offers the potential for a change-up in the Dexter storyline.
  30. The show has become a little like legal 24 for me: lots of talent and strong performances, but it has increasingly seemed to strain to up its stakes in its one-case-a-season format.

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