For 1,061 reviews, this critic has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 4.4 points lower than other critics. (0-100 point scale)

Tim Goodman's Scores

Average review score: 64
Highest review score: 100 Veep: Season 5
Lowest review score: 0 Do Not Disturb: Season 1
Score distribution:
1061 tv reviews
    • 56 Metascore
    • 70 Tim Goodman
    The show is good but not great. It feels redundant because it is - two times over, if you count the movie. There's no denying that's a huge drawback, no matter how brooding Gedrick and Welliver get. And, from a pure entertainment stand point, it's less satisfying to see Falcone's wife and family implode than it is to see what's happening with Tony Soprano's home life. Sorry, but it's true.
    • 51 Metascore
    • 30 Tim Goodman
    Dublin Murders [is] a mess and, in parts, preposterous. Having watched all eight episodes knowing that an intricate (OK, fine, farfetched) set of plot points wouldn’t come together until, at the earliest, the seventh episode, I'll just tell you (since we're still in the Peak TV era with no signs of let-up): Don't bother.
    • 87 Metascore
    • 100 Tim Goodman
    A wonderfully nuanced story that's both extremely funny and tragically sad, but never leans too hard in either direction to get a reaction. It just exists and, after six episodes, it ends — and when it does you get the full appreciation of how exceptional it is. ... Back to Life is a real, unexpected gem of a series and one of the better surprises of 2019.
    • 71 Metascore
    • 80 Tim Goodman
    The good news is that season two of The End of the F***ing World stays true to the vibe of the first season, has a decently good but not great story and manages, by the end of the final episode (of eight in total), to have righted most of the wrongs that came before it.
    • 56 Metascore
    • 70 Tim Goodman
    Jack Ryan is still fun, despite being a little bit ridiculous and predictable.
    • 65 Metascore
    • 60 Tim Goodman
    You'll find some urgency as episodes wrap, but not a lot. And there's no doubt that the world For All Mankind wants to build is populated with an almost staggering number of people, each getting bits of story, but outside of the women-going-to-space idea, not a lot of it is particularly interesting.
    • 78 Metascore
    • 80 Tim Goodman
    All three of the episodes are very strong and that's a good sign heading to the exit.
    • tbd Metascore
    • 80 Tim Goodman
    The Cry never feels overtly tricky, even though director Glendyn Ivin plays around with flashbacks at a ferocious pace. The series deftly sets up jealous ex-wife Alexandra as a suspect, while never letting viewers escape the notion that Joanna, who has become essentially non-functional, might have been involved.
    • 70 Metascore
    • 60 Tim Goodman
    Some of the story arc decisions are dubious (it works better at being funny than being serious) and often it feels like Living With Yourself needs to slow down and stretch for a bit, luxuriating in the ease of the idea. Instead, it races into scenarios that feel forced. There's still a lot to like about the series and maybe it will work better as it gets comfortable in its own skin.
    • 85 Metascore
    • 90 Tim Goodman
    Relentlessly entertaining, odd and creative... Watchmen is a tour-de-force, no doubt, but there's a landing that definitely needs to be stuck.
    • 47 Metascore
    • 20 Tim Goodman
    The missing ingredient, however, is the writing. Treadstone is all action and no brains. ... While lots of action films require the audience to suspend disbelief at times, Treadstone requires them to saw the tops of their own heads off and remove the gooey blob inside. It's the only way you'll survive the writing. Even the actors sometimes look stunned.
    • 66 Metascore
    • 80 Tim Goodman
    Almost all the choices in Modern Love are the right ones. It's a simple, endearing collection that makes for compelling television.
    • 81 Metascore
    • 80 Tim Goodman
    Some [episodes] are excellent, some strain credibility to the breaking point (a familiar trait in later seasons, but not so damaging as to seriously dent the show's reputation), some feel uniquely contemplative and odd, others seem alive with forward momentum. It's a strong start, but it's very clearly the end that will matter.
    • 61 Metascore
    • 20 Tim Goodman
    A show that's a complete mess almost from the first moments it comes on your screen. ... Nobody acts like an actual person. They act like they are in a sitcom or a weak drama.
    • 72 Metascore
    • 70 Tim Goodman
    Whitaker is excellent, D'Onofrio's wilder side meshes with Sorvino's quiet one, and Thatch, who has already played Malcolm X before in Selma, is excellent playing off both Whitaker and Esposito. ... By the end of the third episode, the series has leaned in hard to more soap-box and/or convenient moments to tie these massive storylines into something cohesive, but it's too rushed and manipulative, with the episode's ending looking like a music video.
    • 70 Metascore
    • 60 Tim Goodman
    This one just kind of sits there for 30 minutes, pleasant but not particularly funny as it sets up the Hart family. Lots of comedies get better after four or five episodes. It's your call. The downside to Bless the Harts not exactly lighting things up in the pilot is that the one thing it does do is make you want to watch King of the Hill.
    • 73 Metascore
    • 70 Tim Goodman
    If Stumptown is going to continue beating the odds as something more than an average network drama, it would do well to continue leaning into Smulders and letting her be sarcastic and kick-ass as much as possible, with Johnson's more level-headed advice as her best friend grounding everything. ... At least the pilot finds Stumptown pushing most of the right buttons out of the gate.
    • tbd Metascore
    • 70 Tim Goodman
    The standout piece is called Quarter Life Poetry, starring, written and created by Samantha Jayne. ... [Oh Jerome] Interesting micro-story? Sure. Funny? Sometimes. Original? Meh. But maybe that's how Cake will go each week — viewers get presented with a grab-bag of visual goodies and if they don't like one thing then something else will be right behind it. ... It's certainly worth checking out future episodes to see if the concept works.
    • 65 Metascore
    • 50 Tim Goodman
    Sometimes the idea for a series is better than the execution. ... The repetition of the will-the-suspect-break idea begins to nag. Worse, and perhaps this is an American-based red flag, the legal counsel in all four countries leaves a lot to be desired. ... Criminal is an interesting if not necessarily original idea, and you can see the appeal for Netflix, but viewers are likely to want something more expansive.
    • 80 Metascore
    • 70 Tim Goodman
    I appreciated loving the parts I wasn't expecting to and often tempered my disappointment in it not getting to the "alt-country" artists I most wanted to see by realizing that Country Music is simply not that kind of niche (or definitive) documentary. It's mostly a brave effort to place it in context with an impressive timeline.
    • tbd Metascore
    • 100 Tim Goodman
    A brilliantly taut drama — that jams more into its 23- to 25-minute episodes than most hourlong American dramas — with a lingering emotional after-effect. All of those elements remain in the second season. ... Mr Inbetween remains one of the best series people aren’t watching.
    • 72 Metascore
    • 40 Tim Goodman
    It's hard not to imagine the whole thing working better if it could perhaps last longer and develop its characters more naturally. ... Mrs. Fletcher feels both unfinished and rushed — the seven half-hour episodes failing to cement a story rather than just the feeling of a story.
    • 68 Metascore
    • 80 Tim Goodman
    There are shorthand cliches about duty, country and spying that could have been excised. But, flaws aside, this mostly true story of Israel's most famous spy makes for a compelling story, fueled by Cohen's strongest dramatic work yet.
    • 58 Metascore
    • 80 Tim Goodman
    It takes a few episodes for the series to introduce and spin out this cobbled mythology — and that will undoubtedly lose some people — but ultimately it works when it gets going. Carnival Row has a strong cast . ... If you're not into fantasy, that probably seems a real hodgepodge of mythos, but Carnival Row succeeds precisely because it's different (and looks expensive while creatively employing its CGI).
    • 89 Metascore
    • 100 Tim Goodman
    The thing to embrace and appreciate with Succession in this second season is just how superbly and seemingly effortlessly structured it is with its grandiose plotting; other than making us care about the Roys, that's the next-level miracle. The Emmys did recognize Succession but not nearly enough, by the way. This series is doing something special and the rich rewards will be coming.
    • 50 Metascore
    • 30 Tim Goodman
    The series starts off in a boggle and never really resets, flitting around trying to find both tone and purpose. Any ties to the film are…remote.
    • 33 Metascore
    • 10 Tim Goodman
    There's really no other way around this — the work on Another Life is not good. The writing is atrocious, leaving the actors to follow a jumble of disconnected emotions or pointless journeys within their characters (or maybe they were just looking to escape) and the directing is...off.
    • 60 Metascore
    • 80 Tim Goodman
    Juggling more adult fare, Heller manages to make Pennyworth a compelling modern drama but adds in a darker hint of comic book ink, never letting the tone tilt too much toward the outlandish or over-the-top, but also just unhinged enough to stand out.
    • 66 Metascore
    • 80 Tim Goodman
    What follows is ridiculous, start to confounding finish, and yet it is so insanely funny that such a thing actually exists and will be available on Netflix, perhaps forever, that it comes off almost as performance art. ... In the end, all that matters is that the rules of old television are broken.
    • 73 Metascore
    • 80 Tim Goodman
    There are many levels of successful and riveting storytelling in Shangri-La. Rubin's early career is so drastically different from his present life that the evolution is a can't-miss arc. ... If there is one area where Shangri-La falls flat, it's in not getting a little dirtier and messier in the examination of those middle years.

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