Time's Scores

For 623 reviews, this publication has graded:
  • 39% higher than the average critic
  • 7% 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 Louie: Season 4
Lowest review score: 0 Bridalplasty: Season 1
Score distribution:
  1. Mixed: 0 out of 375
  2. Negative: 0 out of 375
375 tv reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. It's a big download of fever-dream melodrama, but strong casting goes a long way toward selling it.
  6. Drive is an audacious, exhilarating enough concept, and its pace and writing snappy enough, to make you want to believe.
  7. The show's unscripted feel and sub-Kukla production values make the bizarre punch lines even more jolting.
  8. 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.
  9. Danson, with his mix of insouciance and egotism, is in peak form.
  10. 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.
  11. 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.
  12. The band has a refreshing scruffiness but except for Joe gets too little screen time to leaven the formula slickness.
  13. 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.
  14. Its performances are strong across the board but its writing pushes toward the sort of obviousness familiar from past eras of TV.
  15. 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.
  16. In short, it was an episode of Game of Thrones, a show with little interest in or aptitude for self-editing. The aspects that worked were no better-written or more artfully shot than those that fell slightly flat; they simply had a sense of urgency that was, even by the standards of a show whose premieres are slow going, was absent elsewhere.
  17. 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.
  18. The Night Manager applies the pleasing fundamentals of pulp spycraft to the banal world of corporate evil.
  19. In all, it's a polished pilot, but one that will have to ground its characters better to work as a series.
  20. It's worth hopping on this poetic, profane story of frontier money lust before it rides into the sunset.
  21. 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.
  22. Like its endearingly flawed protagonist, Ugly Betty is promising but not perfect.
  23. For all its cheekiness and raunch, Skins has more sweetness than snarky teen soaps like Gossip Girl.
  24. The show is vastly more interesting when it shows the dystopian consequences of Elliot’s actions than when it tries to litigate what, precisely, is happening between his ears.
  25. The show's conversational improv rhythms and realistic, documentary style make Sons and Daughters worth adopting.
  26. 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.
  27. 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.
  28. 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.
  29. 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.
  30. 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).

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