Time's Scores

For 794 reviews, this publication has graded:
  • 40% higher than the average critic
  • 6% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Twin Peaks: Season 1
Lowest review score: 0 The Playboy Club: Season 1
Score distribution:
  1. Mixed: 0 out of 480
  2. Negative: 0 out of 480
480 tv reviews
  1. It seems as though everything on [the broadcast networks's] schedules that isn’t a cop or lawyer show is a doctor show. And yet, somehow, I’ve never seen anything like Lenox Hill before. ... By choosing the doctors they profile there with care, director-producers Ruthie Shatz and Adi Barash capture the astounding range of personalities, specialities and styles of care the medical profession encompasses—and do justice to the many varieties of everyday heroism that take place behind hospital doors. ... The show comes by its emotional resonance honestly.
  2. I May Destroy You stays on the right side of the line between providing context and shifting blame by telling an uncommonly holistic story. ... This degree of complexity would’ve been enough to distinguish the show from hundreds of earlier representations of sexual misconduct. Remarkably, though, it grows even more ambitious as it continues, without alienating viewers by deploying academic buzzwords or condescending lectures. ... More than the story of a woman who was raped, Coel is telling the story of how a writer living an unexamined life comes to know herself.
  3. Riihimaki, with her candy-colored aesthetic and seemingly endless store of energy, makes a perfect host. The kids are fantastic, too. ... But parents might cringe at how stylized the ultra-bright show is and how coached the contestants can sound in on-camera interviews.
  4. HBO Max’s new 11-minute episodes don’t feel overly sanitized—there’s still plenty of cartoon violence, and the absence of racist caricatures like Speedy Gonzales is inarguably for the best. But besides being fresher, more inspired and more in sync with the culture that produced it, the old Looney Tunes has an endearing handmade feel that contemporary animators are just too slick to replicate.
  5. I was not prepared for how much I disliked early episodes of this show ... Showrunners Sam Boyd and Bridget Bedard (backed by a team of executive producers that includes Kendrick and Paul Feig) spend much of the season leaning on worn-out romance tropes and overplaying the lead’s adorkable charm. It’s all too expected. ... And when, to its credit, the show finally heads for novel territory about five episodes in, it’s too little, too late.
  6. It’s easy to imagine toddlers watching episodes on repeat. For adults, however, only the occasional guest—like John Mulaney, who’s shaping up to be his generation’s premiere good-with-kids comic—can make such a concentrated dose of Elmo’s high-pitched squeal worth enduring. The Muppet Show this ain’t.
  7. Could we, in the two episodes sent for review, have heard more on that topic from the participants themselves? Absolutely. The thing is, the performances are spectacular, each house gets ample opportunities to tell its unique story and, however you feel about her, Jamil maintains a pretty low-key presence. Thanks more to the contestants than to the celebs (though Tyson Beckford is a fun guest judge), Legendary might live up to its name.
  8. Space Force is exactly what you’d expect from a show conceived around a conference table, then executed by two network TV veterans with a budget befitting their track record but no personal connection to the premise. ... There are so many characters, it takes more than half the season to get to know anyone besides Naird and Mallory. ... Things can get repetitive when you watch more than one [episode] at a time.
  9. A delightful animated comedy. ... There’s nothing preachy about the show, which is just as raunchy as Burgers.
  10. It isn’t quite the perfectly paced masterpiece that movie was; some episodes drag, including a smallpox romp that’s more tiresome than timely. Still, its witty dialogue and lively performances yield a sharp, fun dramedy.
  11. TNT’s adaptation is slower and, unfortunately, somewhat convoluted.
  12. At no point in the elegantly structured, deeply researched docuseries does the creators’ point of view come into focus. ... What’s missing is synthesis. Each episode tracks how attorneys, activists and other interested parties interact with the media. Sometimes, it’s illuminating. ... More often, causes and effects remain fuzzy. The series neither creates a timeline nor makes an overarching argument.
  13. Though writer-director Derek Cianfrance smartly dilutes the melodrama with the same blunt realism that made his 2010 film Blue Valentine a gut punch, he doesn’t entirely succeed at bringing the narrative down to earth. ... It’s Ruffalo who rescues the show from mediocrity, counteracting heavy-handed twists and on-the-nose lines. ... Commanding as it is, his performance is also generous. It brings out the best in scene partners.
  14. In the end, despite the social distancing that the reunion had no choice but to depict, Parks is exactly as we left it five years ago: light, funny, comforting but willfully naive, and ultimately more appealing for its cast and the chemistry they’ve somehow retained than it is convincing in its worldview.
  15. The show does sometimes achieve the righteous thrills it sets out to provide. But beyond the plot holes and absurd twists and preachy speeches that Murphy fans routinely forgive out of affection for his exuberant, propulsive, pluralistic fictions, it lionizes some questionable figures—like Ernie, who has made his living essentially duping desperate young men into sex work. And it makes enacting large-scale social change look too easy. ... Hollywood’s act of faith feels naive.
  16. Excellent. ... It’s the rare show about family, identity and community that captures the complexity of how we perceive ourselves and others. ... The same insights help to power its pleasures—of which there are many. Despite the show’s seriousness, and the grief that forms its emotional core, Saracho and her writers season each script with moments of beauty and bliss. ... Wise, empathetic, exhilarating show.
  17. Too Hot is a thoroughly awful show—a social experiment with a flimsy premise that fails to either yield remarkable results or create interesting characters. But what its makers couldn’t have known during production is that it’s also weirdly relevant in the time of coronavirus.
  18. It’s the Curb Your Enthusiasm to Black-ish’s Seinfeld, with monologues interspersed throughout that tackle fraught issues within the black community, like materialism and fatherhood. These interludes can be illuminating, but they—along with the framing device and too many tired family-sitcom plots (e.g., Mom and Dad do drugs)—slow the already languid pace. More engaging are scenes that depict Barris’ professional life. ... Barris’ Larry-David-like self-awareness lends authenticity to his performance. Even if it takes another season to perfect, #blackAF feels substantial enough to justify the investment.
  19. The show is delightfully absurdist. The Debras wear stark white and deliver ridiculous lines (“A Debra must be ready to conceive at all times”) with mannered deliberateness. Sitcom clichés get stretched to extremes.
  20. An energetic hybrid of rom-com and action thriller whose half-hour episodes move as swiftly as the vehicle that is their primary setting.
  21. Exceptional. ... Creator Dahvi Waller, whose history as a writer for Mad Men and Halt and Catch Fire is evident in Mrs. America’s vivid, complex depiction of our country’s recent past.
  22. The show’s plot is not always as convincing as its characters; the centrality of the conservatory to Esty’s storyline, in which it functions as a social hub, a source of hope and on one occasion an overnight shelter can feel especially contrived. Yet, thanks in large part to uniformly fine performances, creators Anna Winger and Alexa Karolinski render each character’s constantly shifting emotional states with rare precision.
  23. Making the Cut and Next in Fashion aren’t exact clones, but their differences from Runway do seem reverse-engineered to avoid too much overlap. ... The show tries to make the most of Tim and Heidi, who couldn’t have come cheap, with silly but inoffensive skits where they visit local tourist destinations.
  24. The talented cast can’t overcome dialogue that can be painfully stiff (“Your impeccable reputation precedes you”) or anachronistic (“on the regular,” “lying-ass liar”) but is uniformly painful. ... Normally, a show this bad would at least be amusing to watch. But when you consider the richness of the subject and the larger issues it raises—the politics of black hair, Walker’s anti-lynching work, sexism and colorism in the black community—its incompetence is just depressing.
  25. Incisive. ... Simon is TV’s master of realism, and here the groundedness of his storytelling combines with the distinctiveness of Roth’s characters to deepen the political profundity as well as the visceral impact of this speculative fiction. Ryder, Kazan, Turturro and Spector are all spectacularly alive in roles that require them to give fiery speeches and have emotional breakdowns without appearing rehearsed. Everyone’s point of view is comprehensible, if not necessarily sympathetic. The look of the show is haunting in its familiarity.
  26. The acting remains fantastic, as substantial storylines for Paul and Thompson (who finally gets the challenging material she deserves) complement the consistently sharp performances of Wood, Newton and Wright. Action scenes are as slick as ever. Sadly, though, all that polish effectively functions as a distraction from the aimlessness of what is starting to feel like a loose collection of characters, ideas and cool narrative tricks in search of a story.
  27. The miniseries maintains a distracting focus on the characters played by its producer-stars in a way that undercuts the sense you get, reading Ng’s book, which divides its attention more equally among a dozen characters, that sleepy, self-satisfied Shaker Heights is the story’s true protagonist. These performances aren’t exactly incompetent, but they do feel a bit automated.
  28. The problem isn’t that she comes off as disingenuous so much as that people who follow politics (and in 2020, good luck avoiding them) have heard almost all of this before.
  29. These are heady, brain-warping ideas. And it is to Garland’s credit that he has the courage to confront them head-on, resorting to neither the gratuitously gamified narrative of Westworld or Black Mirror’s sensationalism. As a result, Devs is able to balance challenging concepts with clear storytelling.
  30. Mostly, the show’s choice to make all forms of violence entertaining overshadows that nuance. At worst, Hunters can lose its antifascist chutzpah and start to come across as equal-opportunity sadistic. ... There seems to be so much distance between what Hunters wants to say and what it actually expresses.

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