Time's Scores

For 928 reviews, this publication has graded:
  • 42% higher than the average critic
  • 6% same as the average critic
  • 52% 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: 65
Highest review score: 100 It's a Sin
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Mixed: 0 out of 568
  2. Negative: 0 out of 568
568 tv reviews
  1. It’s mostly for the best that they’ve decided not to fix what wasn’t broken.So, aside from the fact they’re now trying to clear their own names—and Mabel’s in particular—fans can expect more of the same charming, intergenerational citizen-detective stuff they fell hard for last summer.
  2. The result is an unusually human grifter story. Instead of diving into the trite subject of sociopathic behavior, like Inventing Anna or Dirty John, Chloe finds depth, authenticity, and even compassion in its profile of a scammer.
  3. Not every show about the ultra-wealthy needs to be as biting as Succession, but Loot too often comes off as entirely toothless.
  4. Harold’s ambivalence about capturing his old cohort adds pathos to the beautifully shot show’s many imaginative action scenes. ... As exciting as The Old Man generally is in the four episodes provided for review (out of seven total), it’s also too sloppy to be a great political thriller. There are plot twists that create plot holes big enough to pilot a C-5 through.
  5. There are the occasional goofy twists and unbelievable coincidences. But for the most part, it’s a well-balanced, exciting mystery that tackles questions of identity, belonging, and how one can best serve their disadvantaged community, pitting radicals against reformers against alleged sellouts.
  6. Hurt is the best medical drama in years. ... If it gets a bit preachy about this stuff, by the final few episodes, at least its critique is a trenchant one that’s rarely articulated on TV. The argument only hits as hard as it does because it’s grounded in the struggles of distinctive, authentic characters—not just Adam, but also Shruti, Tracy, Harry.
  7. While most of the performances are solid, Boon’s Johnny Rotten alone is reason enough to watch. The dialogue can be clunky, as though lifted from a third-rate Pistols biography or ripped from any other on-screen fictionalization of a famous band’s formation. There’s too much starting of things better left suggested. ... Like too many docudramas, Pistol doesn’t seem to know what it’s trying to say, or why.
  8. The show lacks momentum, partially because its neglect to establish a fixed, forward-moving “present” creates the sense of drifting unmoored through the decades. If you put aside the grooming issue, there’s just not much that’s distinctive about the characters. ... In the absence of even that kernel of enjoyment, all The Time Traveler’s Wife has to offer is an extended, painfully literal allegory for the bromide that true love transcends time.
  9. One of the best new shows of the year, Conversations With Friends proves there’s nothing inherently shallow about a story that makes space for satisfaction.
  10. With additional context comes an even greater sense that no secondhand account of what happened on that staircase—whether generated by the prosecution, the defense, or Lestrade—will ever approach the objective truth. The linchpin of this delicate portrayal is Colin Firth’s performance as Michael. ... Although the multiple graphic set pieces that dramatize various theories of how Kathleen died struck me as excessively invasive, for the most part, the flashbacks work to restore her personhood.
  11. The Baby isn’t subtle. It isn’t polite. It’s sometimes extremely silly. And its unusual juxtaposition of a darling baby boy and heaps of bloody, gory violence surely will not appeal to everyone. But if you can live with all of the above, it’s more than just fun—it’s also a whole lot smarter and more thought-provoking than most of the shows sucking up all the attention this month.
  12. Instead of a single performance, Moss gives a cluster of them, finely calibrating Kirby’s posture, confidence, and anxiety level to reflect each new reality. ... Because the show sticks so close to her fractured consciousness, we come to appreciate how hard it is for her to survive, let alone conduct such an unusual investigation.
  13. Stick[s] to the well-trod surface. Two of the three stars—Anderson as Roosevelt and Davis as Obama—are egregiously miscast. And series director Susanne Bier, an accomplished Danish filmmaker whose recent output ranges from the glossy fun of The Night Manager to the glossy meh of The Undoing to the sheer inanity of Bird Box, fails to salvage much worth watching. ... Pfeiffer’s Betty Ford is the only lead performance that feels like more than an impression.
  14. Dockery and Friend are pros, playing parts well within their respective comfort zones; lesser-known actors like Kudzai Sitima (as Kate’s protégé) and Kathryn Wilder (as Olivia’s confidant) make strong showings in smaller roles. The fault for Anatomy’s broadness—and certainly for the silliest twist this side of Netflix’s even messier marital thriller Behind Her Eyes—lies mostly with writing that tweaks characters to fit the plot, rather than the other way around.
  15. Yes, this adaptation is less than perfect; the disservice it does to the structural integrity of a novel that gains momentum and poignancy as the decades progress shouldn’t be understated. The overall impression is of an epochal masterpiece cut into snippets and reassembled out of order. That’s frustrating. Even when you account for its shortcomings, though, TV’s Pachinko remains the rare show of both artistic and historic import.
  16. [The first episode is] a standalone episode chilling enough to rival season 2 highlight “Teddy Perkins,” in which the series’ increasingly illustrious cast is all but absent. ... Unsparing is, among others, the right word to describe these two conjoined episodes, if not the show as a whole. It justifies the persistence of Atlanta, an entire ocean away from Atlanta.
  17. What’s missing, here, is a unifying sensibility. The inconsistencies are glaring. Life & Beth’s tone lurches from realistic to absurd and back; relatively normal characters suddenly devolve into off-the-wall caricatures. ... The pieces just don’t add up to a satisfying whole.
  18. I mostly enjoyed the show. True to its title, Minx at its best is a sexy trifle, and the palpable chemistry between its leads counteracts the uptown girl/downtown boy cliché.
  19. What feels so fresh—and so successful, thanks to stunning performances from Jackson and Fishback—is the boldness with which Mosley combines seemingly incompatible elements. He deftly weaves together the devastation that follows betrayal and the uplift of found family, science fiction and stark realism, character development and sociopolitical commentary.
  20. That private side is the focus of the sprawling, brilliantly executed Netflix docuseries The Andy Warhol Diaries.
  21. Creators Jeff Astrof (Trial & Error) and Sharon Horgan (Catastrophe) front-load Shining Vale‘s least original elements, at the expense of the witty raunch that is Horgan’s trademark. ... Suffice to say that if you can hang on until episode 3, you’ll find a stranger, more amusing haunted-house story lurking behind all the peeling wallpaper.
  22. The show succeeds where it counts—and where just about every other recent series in its lane fails: in creating a character specific and detailed enough in her weirdness to say something new about the real woman.
  23. Whether you’re the kid going off to college or the unmoored mom weeping into her unfiltered sake about it, you’re doing something you’ve never done before. It has been such a pleasure to watch this family grow up, and so illuminating to witness, through their eyes, how that process never ends.
  24. Some plot twists introduce logistical difficulties that feel more like holes than like blanks waiting to be filled in. But the show only becomes more distinctive and captivating, as its nine-episode debut season races toward a genuinely jarring finale.
  25. Bel-Air doesn’t feel distinct enough from TV’s many rich-people soaps to become a classic. The dialogue can sound stiff, and constant references to both the original show and Cooper’s video get tiresome. Yet it does have all the makings of a solid drama.
  26. Within its limited lane, The Afterparty delivers. It’s pure, lively, slapstick fun.
  27. The best thing this frustrating crime caper has going for it is its cast. Sebastian “Winter Soldier” Stan captures the manic machismo of Mötley Crüe drummer Lee in full, chaotic flower. If Lily James, the British period drama stalwart, leans into Anderson’s breathy ditziness to an extent that feels slightly mean, at least she makes an astonishing physical transformation into the Baywatch star.
  28. Offbeat running gags (Lilly’s chronic leg cramps and Astrid’s oversensitivity to foul odors are the first signs the duo is developing superpowers) and sharp, foul-mouthed dialogue (“I refuse to let some idiot chode-bag tell us who we are!”) keep the show fresh. But what makes Astrid & Lilly unique is the authenticity of its lovingly written, endearingly portrayed outsider heroines.
  29. For the most part, it entertains without illuminating. Fellowes recycles too many of his favorite archetypes, from the closeted gay couple to the scheming servant. And while he includes two households’ worth of “below stairs” characters, their story lines go largely undeveloped in the five episodes sent for review.
  30. Search Party hadn’t jumped the shark so much as it had blossomed into the incredibly strange existential comedy it was always meant to be.

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