Time's Scores

For 658 reviews, this publication has graded:
  • 40% higher than the average critic
  • 7% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 1.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Game of Thrones: Season 5
Lowest review score: 0 The Playboy Club: Season 1
Score distribution:
  1. Mixed: 0 out of 400
  2. Negative: 0 out of 400
400 tv reviews
  1. Like a successful patient, the show has learned and grown, becoming more reliably compelling.
  2. It's a promising comedy about a shallow man trying to make his life right, one bad deed at a time.
  3. The new episodes quickly jump back in, with higher stakes and sharper jokes, and creator Josh Schwartz hasn't let the strike stop him from developing Chuck's character.
  4. Lie to Me's pilot is brisk anthropological fun.
  5. Its stripped-from-the-tabloids approach is nothing new, but it's well done, and a little familiarity won't hurt the show's chances.
  6. If The Good Wife can maintain the first episode's tone, it will keep an audience even after political sex scandals fade from the news.
  7. Worth watching.
  8. While the first two episodes of Portlandia are hit-and-miss, its good-natured satire generally hits, as they say, pretty close to home.
  9. Though his new show is not as slick as his last (TV Nation), it's even more hard-hitting.
  10. More than smart enough to make you wonder why it's on UPN.
  11. For baseball lovers it's the World Series, All-Star Game and Fan Appreciation Day rolled into one, with all the hot dogs and frosty malts you can wolf down. It is also a bit much.
  12. Overall, the season stands up well next to any sitcom on the air now; a few episodes were meandering slogs, but a few others are among the funniest, best-executed sitcom episodes I’ve seen this season.
  13. Deadpan and gorgeously shot, The Hills is an addictively watchable visit to the cool kids' table.
  14. There’s definitely something Fallonized about the new Late Late Show, not necessarily in a bad way at all.... The device of bringing both Hanks and Mila Kunis on at once cocktail-party style is promising, but we’ll see if it works with a wider range of guests.... Other elements of the show are embryonic. Musician-comedian Reggie Watts was an inspired choice for bandleader, and let’s hope the show gives him an active role.
  15. The Rosie Show is nothing revolutionary, but it does as much as reasonably can be expected of a talk show in its first week, and--thanks to the experience of its star--has the feeling of a show that's been on the air for months longer.
  16. There’s a lot of thread here, and less time than usual to knit. In the first three hours anyway, there’s too much Empire, too little Boardwalk.
  17. None of this is groundbreaking, and that’s Togetherness' biggest weakness.... But Togetherness improves as it goes, on its excellent performances, well-observed writing and--a strength of all HBO’s best shows--specificity, both of setting (quasi-suburban Eagle Rock) and of personality.
  18. This loose, wry sitcom makes a crackling love connection.
  19. The quiet rage behind Plimpton's quest for normalcy--"You still have that?" she asks Kenny with hope, a day after he's announced he's gay--makes the series something really special.... The Real O'Neals, though less polished, does something similar [to blackish], pitting evolving norms against a family unit fundamentally resistant to change.
  20. UnREAL is melodramatic and moralizing. But it’s also, in its first three episodes, pretty good: dark, deft and empathetic.
  21. Good-hearted, eccentric and wry, Ride goes nowhere fast, but it has a fine time getting there.
  22. It's highly entertaining.
  23. The jokes are still, often, wildly funny (and they come densely-packed enough that if you don’t like one, you’ll have all of 15 seconds to wait), but it seems more clear than ever the unpleasant point Unbreakable Kimmy Schmidt is working toward: That all of us, especially the viewership, are dupes.
  24. The writing is uniformly strong and Byrne excellent not only at reading Paul's dialogue but conveying what he's withholding--his true feelings about his patients, his inner turmoil over his disintegrating home life. But the storylines vary wildly from riveting to tedious.
  25. The Bastard Executioner may need time to sharpen its storytelling. But by the second episode, when Brattle is ordered to give a rebellious 16-year-old tomboy the ax and Sagal’s sorceress yanks a demonic snake from the throat of a dismembered corpse, it’s already starting to exhibit signs of developing into a bloody good show.
  26. Black-ish‘s nuance is promising--it’s aware that there’s not just one way to be black--and the sheer level of execution suggests it has staying power.
  27. It's a big download of fever-dream melodrama, but strong casting goes a long way toward selling it.
  28. Drive is an audacious, exhilarating enough concept, and its pace and writing snappy enough, to make you want to believe.
  29. The show's unscripted feel and sub-Kukla production values make the bizarre punch lines even more jolting.
  30. It’s a potentially interesting way of dramatizing and heightening the state of small-town claustrophobia: what if this little place, which seemed like the whole world, suddenly essentially became the entire world?... That’s the biggest potential strength of Under the Dome. A weakness is that few of its characters are instantly memorable or distinctive; there’s a kind of generic, TV-commercial homogeneity to the Chester’s Mill we first see.

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