Time's Scores

For 712 reviews, this publication has graded:
  • 40% higher than the average critic
  • 7% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 1.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 65
Highest review score: 100 The Americans: Season 3
Lowest review score: 0 The Playboy Club: Season 1
Score distribution:
  1. Mixed: 0 out of 437
  2. Negative: 0 out of 437
437 tv reviews
  1. More than the comforts of a tidy procedural, each episode offers a moving case study of a life derailed by an affliction that has doctors stumped. ... Diagnosis isn’t magic. Episodes rarely end in a cut-and-dried cure. But their outcomes are extraordinary enough to feel miraculous nonetheless.
  2. When [John Goodman] gets the spotlight, there are hints of the show The Righteous Gemstones could’ve been.
  3. The show endows its hero with a complex internal life. ... It’s impossible to predict, based on the five languidly paced episodes sent to critics, where the show will end up–but McCraney seems too invested in the people around David to leave them behind. Even as it immerses us in his subjectivity, David Makes Man builds vivid, sympathetic supporting characters.
  4. It’s so conscientious that it’s bound to confuse viewers who aren’t familiar with Jerusalem neighborhoods, the Israeli justice system, or the differences between Ashkenazi and Sephardic Jews. (As a secular American Jew, I often lost track.) Despite superb performances, this dearth of context and a frustratingly slow pace can make the show a hard sit. Stick around, though, and you’ll be rewarded with a timely argument that an eye for an eye isn’t always justice.
  5. For the most part, I enjoy AYTO? (which airs on Wednesdays) because it doesn’t conform to the same gendered clichés that have always plagued heterosexual dating shows.
  6. As it traces Meek’s case and career, the doc illuminates several of the broader but less publicized issues his story exemplifies [how one relatively minor conviction can lead to a lifetime of cycling in and out of prison]. ... If the transition from deep dive into recent history to present-tense detective story feels a bit bumpy, both parts of the narrative are equally important.
  7. The decision to do something completely different from teen dramas new and old goes a long way for BH90210. And though the show is in some senses even sillier than its inspiration, the honesty of a story about seven aging C-list celebrities cashing in on nostalgia is unexpectedly endearing.
  8. The lack of novelty wouldn’t be a problem if the team behind this reboot had managed to recreate the witty, propulsive feel of the movie. Instead, episodes get bogged down in the friends’ daily lives, providing more mundane backstory than any Four Weddings fan could want. The dialogue is rough; instead of tapping into the literary sensibilities of British comedy, Kaling and co. exploit the London backdrop for broad stereotypes about upper-class and (more egregiously) low-income English people alike.
  9. If Hulu’s revival is everything the movie should have been, that’s surely in part because it’s so timely. ... So many teen dramas have struggled to grow up along with their audiences, but Veronica Mars never sugarcoated or condescended when tackling the adult themes that made it so prescient. It makes for an elegant transition.
  10. There are sharp musical parodies; spot-on period costumes; amusing impressions (Mary J. Blige, Lana Del Rey); and appearances by executive producer John Legend, Tiffany Haddish, Quincy Jones and more. Though Showcase is more allusive and ambitious than South Side, both shows are funny.
  11. South Side is the more conventional of the two [shows - the other, IFC's Sherman’s Showcase], with all the rapid-fire jokes and zany digressions of a Tina Fey joint. ... Though Showcase is more allusive and ambitious than South Side, both shows are funny.
  12. With its raunchy, inventive humor and commitment to laughing with its characters more than at them, Florida Girls may well turn out to be the most enjoyable new show of the summer.
  13. It’s not a traditional biography. Director Morgan Neville (20 Feet From Stardom, Won’t You Be My Neighbor?) lets each episode meander like a train of thought. ... What resonates most in Shangri-La—a gentle, summery viewing experience as relaxing as its subject is relaxed—is Rubin’s authenticity, his ability to connect with whoever happens to be in his studio regardless of their age, race or gender.
  14. His small rebellion is the implicit insistence that, even as purity politics increasingly govern the lives of anyone who isn’t an out-and-proud bigot, he’s only as flawed as every other human being. Ansari might not be entirely wrong. I just hope he’ll be funnier—and more original—the next time around.
  15. Though it still doesn’t have the freshness of the first installment Stranger Things, the new season marks an improvement over its predecessor.
  16. A premiere scripted by Spotlight writer-director Tom McCarthy (also an executive producer) sets a talky, thoughtful tone for a saga that needs no embellishment. ... Crowe, a world-class bellower, only occasionally flips the switch from whispery, methodical creepiness to full-on scenery chomping. The result is an elegant mix of character study, workplace drama and political thriller.
  17. Believable as a family and likable as individuals, the Lyons ground the show’s unwieldy themes in real lives viewers can actually care about. ... But the show too often feels like an exercise in liberal masochism. ... Its flaw lies not in the execution of its futuristic family drama but in the banal and occasionally pernicious ideas that form its foundation.
  18. The plot, adapted from Spanish series Gran Hotel, is predictable and the dialogue hacky. ... The show wastes its best actors–Bichir, Robinson, Adorno–in bland roles. Grand Hotel could’ve been a fun summer getaway. Instead, it’s a joyless slog.
  19. It’s a credit to both actors [Zendaya and Hunter Schafer] that the characters’ relationship feels so pure; I only wish we got less of diffident Rue’s solitary wanderings and more of the girls together. ... Though its heroine is informed by Levinson’s youth, Euphoria’s nihilism feels as contrived as a Burger King ad.
  20. What’s remarkable is how much Pose manages to accomplish simultaneously—and without sacrificing the specificity of each character’s personality, relationships or aspirations. ... For producing such an extraordinary, uncompromising second season, everyone involved in the show deserves to take a bow.
  21. Instead of manipulating our anxiety about technology—something Brooker often accomplished simply by activating viewers’ visceral disgust—the new episodes revel in the ridiculousness of our predicament, achieving a level of detachment that makes the show campy in the same way so many out-of-touch spectacles are campy.
  22. It’s a lot, and sometimes the pace is more exhausting than bracing. At the same time, the show’s underlying ideas about tribalism and friendship are pretty commonplace. Still, Tennant and Sheen make an ideal buddy-comedy duo; their banter does justice to Gaiman (who adapted the novel and is an executive producer of the miniseries) and the late Pratchett’s witty prose.
  23. Elegant, wrenching four-part reenactment of the Central Park Five saga. ... [Ava DuVernay] never reduces her subjects—five real, live, now-middle-aged men—to statistics or types. (The lawyers are generic by contrast.)
  24. To its credit, Catch-22 doesn't harp on the parallels between Heller's era and today. In 2019, satire means trusting your audience to know that deranged leadership springs eternal. [27 May 2019, p.55]
    • Time
  25. What could’ve been a cash-in from Waller-Bridge, the writer and producer behind BBC America’s sleeper hit Killing Eve, turns out to be a masterpiece.
  26. The mismatched moods don’t entirely ruin the show’s fun. But for a project that looks so much like BoJack and borrows so much from Broad City—two comedies with very different but equally seamless approaches to tackling topical issues—that clunkiness is a bummer.
  27. An action spectacle that dominates the premiere, which airs on May 6, this sequence captures the scale of Chernobyl’s mismanagement–yet it doesn’t connect emotionally, because we don’t know anything about the workers caught in this radioactive death trap. ... At its best, however, Chernobyl demonstrates what happens when societies stop listening to science. Amid our rapidly worsening global climate crisis, it’s a critical message.
  28. As the show suggests, we tend to see other people not as they are but as we need them to be, constructing elaborate fictions to convince ourselves that we’ll never get hurt by the people we love. It’s a depressing truth about relationships of all kinds--and Cardellini and Applegate mine it richly in this absurdist caper.
  29. As in season 7, the big problem with “Winterfell”—the reason it felt more like an unlucky videographer’s rendering of an exceptionally dysfunctional family reunion than like a carefully crafted story—was the pacing.
  30. Like Meriwether’s biggest hit, New Girl, the show balances old-fashioned sweetness with of-the-moment characters and cultural references; neither rural nor urban types comes across as caricatures. Best of all, Bell and Shepard make an utterly believable, sympathetic couple–one that is just beginning to understand what it really means to make a lifelong commitment.

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