Time's Scores

For 867 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 1.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 65
Highest review score: 100 Fosse/Verdon: Season 1
Lowest review score: 0 Bridalplasty: Season 1
Score distribution:
  1. Mixed: 0 out of 531
  2. Negative: 0 out of 531
531 tv reviews
  1. The overarching problem is inertness. The show spends so much time vacillating between styles that it neglects to move what should be a thrilling plot forward. By episode 3 (Kevin and Neil go to war over who can make a better chili), Kevin is spinning its wheels.
  2. It is that rare and precious thing, an action blockbuster for grown-ups. In fairness, the storytelling in Lupin doesn’t have quite the same taut precision as, say, The Parallax View. ... Even at its weakest, though, the show is so much more exciting than almost anything else on TV. Its glitz and gloss are immersive, its pace propulsive, its twists thrilling.
  3. The many extended, atmospheric stretches that rely on these visuals and performances get tedious fast. The show is too long; it wrings eight molasses-paced episodes out of a story that provides sufficient narrative for four at most. And technical competence can’t save a skeletal plot held together by pseudo-psychology or a script pocked with bad lines.
  4. Electrifying. ... There is a lot to love about We Are Lady Parts. The dialogue is sharp and funny. Vasan’s performance is endearingly vulnerable. There are trippy animations, clever pop-culture homages, catchy original songs.
  5. Beyond the witty dialogue and fashionable outfits, they’ve grounded this appealing series in the specifics of identity and place.
  6. An intermittently fascinating but mostly frustrating five-part drama.
  7. There’s plenty here for straight viewers to learn, certainly. More important, though, is Pride‘s fidelity to all of the many letters, colors and identities that make up the LGBTQ rainbow.
  8. Breathtaking. ... Jenkins uses the medium of serialized television to open up its layers, transcending the specifics of place and period. With roughly two minutes of screen time for every page of text, he’s able to reproduce the book’s most resonant monologues but also insert long, wordless, lyrical passages that communicate characters’ inner lives more elegantly and completely than the voiceover narration so many literary adaptations lean on.
  9. Throughout the six episodes I screened, the core of the show is Smart’s performance, which brings the perfect balance of steeliness and vulnerability. ... The pithy, insightful Hacks offers further confirmation that Smart is living through a career renaissance of her own.
  10. King's first original mini-series script is a marathon of communal anxiety with a spooky moral: we are ready to mortgage our children for our own restless comfort.
  11. This season of The Girlfriend Experience contains some promising ideas, even though it retreads some familiar ground and the gendered implications of Iris’ double life go largely unacknowledged.
  12. This is a series that’s always tantalizing viewers with glimpses of profundity—in its political commentary, its plot complexity, its character development. But only in Theroux’s performance does The Mosquito Coast transcend the superficial.
  13. The equally promising and frustrating result, which debuts on Peacock April 22, bears evidence of some significant growing pains, combining ambitious, intriguing ideas and slow, overly delicate storytelling. ... The show is at its best when it stops apologizing for Nathan’s ignorance and starts spending more time with other characters.
  14. Essential, remarkably balanced vérité-style account of [Larry Krasner's] unlikely tenure as the city’s district attorney. ... Packed as it is with details that will surely be invaluable to policy makers, activists and academics, the series is bound to feel a bit long, at eight hours, to the casual viewer. Episodes tend to focus on single issues, and the most effective of them are structured around an individual person with a relevant story.
  15. In fact, deceptively stodgy title notwithstanding, it is a poignant, richly observed, if occasionally over-the-top HBO crime drama. ... Easttown is not an ideal place. Mare is not an ideal detective or mom. But both have something more compelling than perfection going for them: they’re real.
  16. Expensive, confusing mediocrity. ... There might have been a way to salvage such an unwieldy plot, so that a show whose dialogue, production values and acting (especially Donnelly’s lead performance) are above average for Dickenscore could at least hold viewers’ attention, the way the even-sillier Irregulars does. But the incomprehensibility of storytelling that barely allows time for us to register a character’s existence before moving on to a new set of faces, ensures that The Nevers is rarely fun.
  17. It may well be the most politically radical and intellectually challenging work of nonfiction ever made for television. ... The visuals are as arresting as the words. ... Exterminate All the Brutes makes an electrifying instruction manual.
  18. Odd, enjoyable but somewhat slight.
  19. Writers Richard Warlow and Toby Finlay (both Ripper Street alums) seem hesitant to engage with that material in any depth, and confused as to whether they’re making a stylish, voyeuristic period crime caper or a paranoid political thriller or a sober monument to Sobhraj’s victims or a tamer version of torture-porn flicks like Hostel.
  20. There’s nothing special about the acting, directing or writing, which foregrounds monster-of-the-week plots. That’s not a complaint, though. The reason to watch The Irregulars is because it’s fun. And it’s most fun when it leans into dark pastiche: opium dens, taxidermists, occultists staging murder scenes to resemble tarot cards.
  21. Aretha is an uneven yet largely thoughtful, gripping and visually stunning portrait of a generational talent. Its sensitive, though not hagiographic, narrative illuminates a superstar with a widely beloved body of work but a poorly understood biography and inner life.
  22. An instant classic of children’s television; the magic is all in the imaginative, endlessly flexible premise and its outstanding execution. ... Engaging, illuminating, curious and effortlessly inclusive, light but not glib or cloying, educational without being pedantic, made for tots yet clever and stimulating enough for adults to enjoy alongside them, Waffles + Mochi might be the first great kids’ show of the decade.
  23. What’s satisfying isn’t that the roommates have evolved to become what Kevin calls woke, so much as that (in Homecoming’s premiere, at least) they come off as thoughtful, empathetic, reasonably intelligent and self-aware adults.
  24. Tina and Amy (who represented the West Coast branch of the industry at the Beverly Hilton) did a pretty admirable job for two people co-hosting a primetime telecast from opposite sides of the country. ... [But] A three-hour Zoom meeting with appearances by Elle Fanning and Regina King in evening gowns is, alas, still a three-hour Zoom meeting—which is to say, it’s riddled with technical difficulties and not exactly an escapist treat for a nation with Zoom fatigue.
  25. It saddens me to report that the Peacock sequel represents just about everything that can possibly go wrong with this sort of project. ... It isn’t just the nostalgia that grates early and often. The writing on the show is almost uniformly atrocious, with dialogue toggling between parental bromides (“I don’t know what I’m doing—it’s called parenting!”) and sub-Disney Channel silliness.
  26. It’s a Sin—which is easily the best season of TV I’ve watched so far this year—gets the big, emotional moments and moral arguments right.
  27. Along with amassing a collection of wild, well-told stories that speak to the level of trust he was able to establish with his subjects, director Rashidi Natara Harper highlights the structural factors that kept these kingmakers from prospering in the straight world: racism, deindustrialization, poverty, drugs, mass incarceration. If The Black Church and Amend explore centuries of oppression, then Uncovered surveys its effects—both the great art and the profound human suffering.
  28. Beneath all that polish is substance. Leon and Green succeed at spotlighting under-praised heroes (there’s an especially strong section on Ida B. Wells), while making room for related struggles from feminism to LGBTQ rights to immigration and declining to dumb down the insightful analysis provided by some of our most engaging activists, academics and legal minds.
  29. Despite its traditional style, the series distinguishes itself through Gates’ candid interactions with interviewees who range from scholars and theologians to celebrities like Oprah and John Legend. He harmonizes with gospel singers, calls back to preachers and delves into his own faith. The Black Church is the kind of documentary that only someone with a personal connection to the material could make.
  30. Instead of making her second telling of The Luminaries a pale imitation of its predecessor, she [Eleanor Catton] offers up yet another set of twins: two consummate works in two different mediums.

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