Time's Scores

For 773 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 2.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 The Americans: Season 6
Lowest review score: 0 Bridalplasty: Season 1
Score distribution:
  1. Mixed: 0 out of 468
  2. Negative: 0 out of 468
468 tv reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. Of the many series about immigration, gentrification and cross-cultural identities that have sprung up in the past several years, Gentefied is among the most astute. It only needs to trust that its cast will convey everything that’s left unsaid—and that viewers will read between the subtitles.
  11. The characters read as real, flawed but mostly sympathetic people, rather than the glossy archetypes of The Bachelor, the glittery soap-opera improvisers of the Real Housewives franchise or the ubiquitous thinly disguised actors hoping to use reality TV as springboard to fame. That authenticity makes the stories on Love Is Blind more absorbing for those of us who’ve been bored of reality caricatures for upwards of a decade. Yet it also heightens the cruelty.
  12. While it’s hard to imagine rooting for Cusack’s dour, womanizing Rob 20 years later, this revision works. ... What’s even more satisfying is how a change in casting shifts the meaning of Hornby and Frears’ stories. ... In a blow against essentialism, these characters are multifaceted human beings before they’re representatives of their gender, race or sexual orientation.
  13. Lucy Hale makes an unusually appealing [fairy tale princess]. ... Less about finding Prince Charming than it is about making your artistic dreams come true without losing your soul, Katy Keene is a fairy tale fit for a new decade.
  14. What’s disturbing about the show is that when you combine Gwyneth’s aura of trustworthiness with a mishmash of real science, New Age nonsense, vague female empowerment rhetoric, naked commercialism and some startling knowledge gaps in areas where Goop claims expertise, the result has its unique dangers. ... Some episodes are more than just distasteful.
  15. The bits can be hit-or-miss, but the show improves as the season progresses.
  16. Avenue 5 gets sharper with each of the four episodes sent to critics, which bodes well for what lies ahead, when the bulk of the world-building is done. It isn’t Veep, sure, but there are traces of Selina Meyer in Ryan; both are smug, two-faced charlatans entrusted with far more power than they deserve. The show also benefits from Iannucci’s dark, profane, literary sensibility.
  17. Like so many of King’s mammoth tomes, The Outsider could easily have been distilled into a movie. Instead, we get a 10-episode slog through crime-drama cliché so oppressive, it threatens to overshadow Erivo’s brilliance.
  18. Although Okay’s setup—which smooths over logistical issues by making the family rich—comes off as contrived, it quickly evolves into a bighearted, bittersweet, sometimes perverse chronicle of three unique siblings teaching each other how to live.
  19. With executive producer Rodrigo Garcia (In Treatment), creators Christopher Keyser and Amy Lippman ingeniously reimagine their story as a portrait of a loving family torn apart by political forces. ... Because characters sometimes sound like mouthpieces, the addition of some standard teen melodrama can make for slightly ponderous scripts. Yet the show ultimately appeals to our empathy more than our political allegiances.
  20. It takes a while for viewers to learn how these characters are connected, via an exasperating Westworld-esque narrative knot that takes much of the season to unfurl. ... The Witcher heightens our confusion by fumbling details that would have helped it set a cohesive tone. Dialogue vacillates, from line to line, between theatrical fantasy-speak and modern colloquialisms (“Dragons are, in fact, a thing!”).
  21. Equal parts smart, silly and scary, You remains an offbeat, uniquely contemporary pleasure on the whole.
  22. New showrunner Marja-Lewis Ryan (The Four-Faced Liar) struggles to balance such a big cast; Micah and Sophie don’t quite come into focus in the three episodes sent for review. What’s more worrisome in the long run is that, despite their proximity, these two cohorts can feel like they’re in parallel shows. ... The result is a more serious drama shoehorned into an aspirational soap.
  23. The cast does the best it can with thin characters; Elizabeth Perkins brings engaging pathos to Warren’s cancer-stricken mom Melanie. Sadly, Truth Be Told doesn’t seem to have much to say on their plight that superior predecessors including Netflix’s hilariously sophomoric true-crime mockumentary American Vandal haven’t already covered. ... It marks another misstep for Apple TV+ because it’s so bland and forgettable.
  24. Ultimately, Wonderland disturbs not because it is violent or loud--though it can border on pathos--but because, unlike crime or injury, its subject defies easy blame and explanation. But creator Peter Berg (Very Bad Things) balances its starkness with writing of remarkable empathy. As Banger says at his custody hearing, "I have a tremendous respect for [my children's] minds, for the beauty of their minds." Wonderland has a tremendous respect for its audience's minds, and for the beauty of even a shattered psyche.
  25. None of these performances save the new Mad About You from feeling like a relic of a more innocent, easily amused time. ... Mad About You doesn’t feel distinctive enough to become a streaming phenomenon.
  26. Designed for the toddler set.
  27. These young people—an 11-year-old crusader against child abuse, a 13-year-old girl with limb differences who designs cool prosthetics for kids like her—are truly remarkable. So it’s disappointing that the show chooses to celebrate them in an overly slick style that feels more like advertising than portraiture.
  28. The result is equal parts clever and sweet, with an energetic cast and a love triangle plot that’s sure to make junior romantics starry-eyed. The Series is still a bit too Disney-sanitized to have much intrinsic appeal for adults, but there are enough meta jokes to ensure that their eyes don’t glaze over.
  29. It’s fascinating to hear the stories behind game-changing rides like Pirates of the Caribbean and the Matterhorn straight from the mouths of the artists and engineers who helped create them. Unfortunately but not surprisingly, it all comes with a heaping helping of corporate propaganda, with Bassett’s voiceover whitewashing such troubling legacies as Walt Disney’s well-documented history of union busting.
  30. Episodes drag, despite topping out at 30 minutes, and the host’s attempts at adding insight to what is essentially a general-interest version of Food Network’s Unwrapped yield some comically obvious conclusions.

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