For 1,030 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 points lower than other critics. (0-100 point scale)

Tim Goodman's Scores

Average review score: 64
Highest review score: 100 Get Shorty: Season 2
Lowest review score: 0 Do Not Disturb: Season 1
Score distribution:
1030 tv reviews
    • 75 Metascore
    • 100 Tim Goodman
    On top of the nuanced work from Davies and Jones, the six-part series boasts outstanding performances. Looking through the opposite end of the telescope at present (and controversial) history is often a recipe for disaster, but Years and Years is magnificently agile in the creativity it uses to make it all cohere.
    • 72 Metascore
    • 90 Tim Goodman
    Without the full season to examine at length (out of eight total episodes, I've seen four), who knows what will happen. But I'm loving the direction the third and final season of Legion is going in because the journey has been less about Marvel and more about Hawley and, given the television track record of each, I'll take the latter every time. There's an unmistakable creative energy about each episode of the third season, as if Hawley, his writing staff and collection of directors all gathered around and said, "Let's go out on fire."
    • 70 Metascore
    • 100 Tim Goodman
    Ultimately, Das Boot looks to be a wonderful find for fans of high-quality international television series with real ambition.
    • 65 Metascore
    • 70 Tim Goodman
    City on a Hill feels like a throwback in 2019 because it's not worried about binge-pacing or whether or not you've overcommitted to too many other shows. It has a confidence in its novelistic approach. That's admirable but not without problems, of course: The world building is impressive but the pace is worrisome.
    • 67 Metascore
    • 100 Tim Goodman
    An early career-defining performance from Zendaya, who is an absolute revelation here; a similarly fantastic breakout performance from trans actress and model Hunter Schafer in her first major role; and strong work from Levinson, who created, wrote and directed (five of the eight episodes), getting the vehicle that emphatically announces his arrival.
    • 65 Metascore
    • 90 Tim Goodman
    One offering is clearly lesser than the other two and one of the rare broad misses that the series sometimes delivers. Ah, but the other two episodes this season are exceptional, a timely reminder that Brooker remains restlessly creative and still enormously interested in the genre, having moved it beyond "tech paranoia" to the aforementioned more nuanced exploration of how technology changes our emotional and intimate connections with loved ones, family and friends.
    • tbd Metascore
    • 90 Tim Goodman
    While two episodes isn't normally enough to fully establish a tone, this pair are beautiful and funny and unleash on the viewer a bevy of excellent characters.
    • 66 Metascore
    • 80 Tim Goodman
    The end result is a feel-good romp and creative triumph that is easily digestible and never flags in search of entertainment.
    • 57 Metascore
    • 10 Tim Goodman
    What/If basically rips off Indecent Proposal and then admits to doing so, as if that's a clever thing. The series stars a miscast Renée Zellweger as Anne Montgomery. ... [The episodes] are larded with bad writing, dubious editing choices and the kind of weightless fluff that props up most network soap operas.
    • 52 Metascore
    • 40 Tim Goodman
    Turturro is in many ways the best thing about the show, diving into the material's complexity and bringing a steadying screen presence to what, in short order, becomes a real mess.
    • 96 Metascore
    • 70 Tim Goodman
    Fleabag the character is as brilliantly funny, damaged and wholly original as when we last saw her, but the show's purpose and direction feel less sharp here (and since there are no plans for a third season, that's how it will go out).
    • 85 Metascore
    • 90 Tim Goodman
    It still holds up as a compelling story, even if you're missing the myriad call-back references from the first four seasons. ... It's a testament to Mercurio that just when you think, "Well, this person is clearly guilty, as all the evidence suggests," he's got multiple switch-backs and loopholes to play with.
    • 70 Metascore
    • 80 Tim Goodman
    Surprisingly effective miniseries. ... Even if you haven't read the book or can't quite recall all the participants, it comes back to you, but it's still a challenge to differentiate everyone. Some fans will no doubt wish certain characters had bigger roles or might have minor irritations over how things were condensed, but overall the pacing is strong and the inclusion thorough.
    • 83 Metascore
    • 60 Tim Goodman
    There ultimately isn't much let-up and Chernobyl is both successful for never wincing at the fallout as it gets to the truth of the issue and hampered by the relentless bleakness of the topic and its depiction. ... You should at least know what you're getting into with Chernobyl and if you can face that awful, true story, then by all means take it in. But it won't be for everyone.
    • 76 Metascore
    • 80 Tim Goodman
    [A] jaunty, funny, smart and touching story.
    • 87 Metascore
    • 90 Tim Goodman
    It still goes down like a particularly glug-glug-glug-able cocktail, as effervescent and fun and thrilling and smart and witty as ever--which is the heaviest half of the equation. Also: It's still as believable and twisty, an emotional entanglement of motives and obsessions and tactical fun that a psychopathic assassin can have with the in-over-her-head agent on her tail.
    • 61 Metascore
    • 10 Tim Goodman
    They manage to take plenty of good actors and give them nothing, leaving them slipping around in vanilla. Even writer Glen Morgan, who has done excellent work, especially in the original X-Files series, can't bring any of these episodes to life. ... All four episodes are bad, but the first two are terrible.
    • 87 Metascore
    • 100 Tim Goodman
    There really was no doubt that Veep was going to kill it in this final season. ... This season seems to delight just a little bit more in turning the mirror on present-day American politics, and there are some astoundingly funny send-ups along the way. There is also some sublime humor that proves all targets are in play
    • 48 Metascore
    • 30 Tim Goodman
    Turn Up Charlie isn't [a watchable series], mostly because of all the ridiculous conceits added to the premise, which effectively shift the lead of the series to a child actress written to be insanely annoying and who delivers on that in every scene she's in.
    • tbd Metascore
    • 70 Tim Goodman
    Manhunt bleaches out the titillation and zeroes in on the detective work, which is an honorable diversion from the norm even if there are some dramatic trade-offs along the way and some shortcomings on the character-development side. The one fully drawn person here is, not surprisingly, Sutton (played by Martin Clunes of Doc Martin, Vanity Fair, etc.).
    • 80 Metascore
    • 90 Tim Goodman
    Funny and inventive. ... The real achievement might be in how surprisingly fresh the conceit feels episode after episode, which is no easy feat.
    • 92 Metascore
    • 100 Tim Goodman
    The last six episodes of Catastrophe are not unlike the 18 that came before--often brilliant, relentlessly hilarious and searing in the process, depicting one of TV's best and most unexpected pairings of two actors (also the creators and writers, of course), who somehow making their coupling, as unromantic as it was, believable, with every episode over the course of the series run giving off an authenticity that allowed viewers to think, "Yeah, I can see how this works for them, even when it's not working." A nice trick, that.
    • 94 Metascore
    • 100 Tim Goodman
    Season three of Better Things continues to be exceptionally great without him [Louis C.K] — precisely because this is Adlon's experience and POV via a TV show that mirrors aspects of her own life and conveys what she fearlessly wants to put out in the world about being a woman, being a mother, being a daughter. And all of that is keenly evident in this new season, with even more development of her directorial skills.
    • 66 Metascore
    • 40 Tim Goodman
    A weak-tea and eye-rolling bit of mystery and loss.
    • 62 Metascore
    • 30 Tim Goodman
    Netflix already has A Series of Unfortunate Events and could have easily titled The Umbrella Academy, its new series, A Series of Pointless Scenes. ... It probably doesn't help that the writing is superficial and the acting suboptimal, or that the whole thing relies on an ostensible quirkiness and viewers' innate sense that they've seen echoes of this many other places.
    • 61 Metascore
    • 40 Tim Goodman
    Buscemi is wasted on subpar material. So is Radcliffe for that matter. Perky side characters played by Geraldine Viswanathan and Karan Soni have potential, but again, the mediocre material holds them back and lets the mind wander to better shows, particularly one less interested in heaven and more interested in earth (and aliens).
    • 82 Metascore
    • 60 Tim Goodman
    In its best moments, PEN15 is like a juvenile version of Broad City--creatively bold, out there and simple in its directness as it follows two best friends testing the bounds of friendship. ... But the downside is the repetitive sketch feel of the whole thing, which can wear thin over 30 minutes.
    • 59 Metascore
    • 80 Tim Goodman
    Like David Simon, Blick is the kind of storyteller who's drawn to a form of bleak realism because that's where the tough stories that need to be told reside. In that sense, his work requires something of a commitment from viewers, but Black Earth Rising and Blick's previous work illustrate that it's one worth making.
    • tbd Metascore
    • 90 Tim Goodman
    The poignant (get the tissues ready), entertaining and informative documentary hits on a lot of emotions.
    • 73 Metascore
    • 80 Tim Goodman
    Brexit is briskly entertaining, driven by a different kind of lead performance from Benedict Cumberbatch--he's less leading man (he's balding and pasty here) and more leading brain, which of course he also excels at. ... For Americans, even if that story isn't our own, it's absolutely relatable and that makes it interesting.

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