For 8 reviews, this critic has graded:
  • 50% higher than the average critic
  • 0% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 6.5 points lower than other critics. (0-100 point scale)

Tim Robey's Scores

Average review score: 63
Highest review score: 80 Leaving Neverland
Lowest review score: 40 Little Fires Everywhere: Season 1
Score distribution:
  1. Positive: 3 out of 8
  2. Negative: 0 out of 8
8 tv reviews
    • 72 Metascore
    • 60 Tim Robey
    This FX production has its heart in the right place but its eyes twitchily on the clock. It’s a brisk enough proposition, and undemanding enough.
    • 74 Metascore
    • 40 Tim Robey
    Loki could well improve, now that its arduous task of educating us about multiverses, and glumly explaining Loki to himself, is with any luck behind it. Let’s hope so. The character deserves a lot more room to get frisky and freaky than these cramped openers carved out.
    • 59 Metascore
    • 60 Tim Robey
    Away lacks the budget for anything grander or the daring for anything deeper. Rather than awed spectacle, it majors in soul and melancholy, Big Musical Moments, formulaic bonding. It needs Will Bates’s strong, stirring score; it needs Joni Mitchell’s River, too, to give it a midway lift at Christmas, in a sappy-sweet montage with tinsel strewn across the living quarters. It’s a little less than binge-worthy on every level, but as space soap, it passes the time.
    • 61 Metascore
    • 80 Tim Robey
    Epstein’s death, which remains a murky element, helps this series concentrate on the area where it can illuminate his grim case most potently: that is, on first-hand accounts from his victims, who at all times have a great deal more to say on the subject than he does, whether in recorded deposition (which is almost the only time we see him speaking) or from beyond the grave.
    • 69 Metascore
    • 40 Tim Robey
    Eye-rolling at the show’s cultural reference points might feel cheap, but there are whole scenes which achieve little else. And when trying to shade in the characters, it’s usually sketching with shortcuts.
    • 56 Metascore
    • 60 Tim Robey
    The show can’t find anything about 1947 it doesn’t shudder at and fix retroactively, fast-tracking these strides for representation that had to wait decades, in reality, to sneak in by the back door. The problem with this woke lens on the era is that it begs applause for itself. ... Still, it's legitimately touching along the way.
    • 75 Metascore
    • 80 Tim Robey
    Proves clear-eyed and absorbing enough that we could probably have handled double what we get.
    • 84 Metascore
    • 80 Tim Robey
    The film has to pick its way through some troubling thickets of motive, and frames earlier denials as proof of the psychological damage he wrought. Setting about this side of things with necessary tact, Reed bolsters the case using only the building blocks of what these two families have to say. No authorities weigh in, no lawyers. The purity is that it begins and ends with survivor testimony, chillingly credible in its details, from Safechuck and Robson.

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