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For 988 reviews, this critic has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 4 points lower than other critics. (0-100 point scale)

Tim Goodman's Scores

Average review score: 63
Highest review score: 100 Project Greenlight: Season 1
Lowest review score: 0 Spartacus: Blood and Sand: Season 1
Score distribution:
988 tv reviews
    • 49 Metascore
    • 30 Tim Goodman
    The casting comes off like it was just Dunham and Konner picking friends to fill out roles, which results in an across-the-board lack of chemistry (or much interest) as the story unfolds. And while Camping is indeed supposed to be a story of misery (because none of these people seem like campers, which is probably the central joke of the original series), making Walt's birthday weekend a torturous affair doesn't work if the humor that it's supposed to generate doesn't materialize. Watching becomes as big a slog for the viewer as getting through that ill-advised camping trip is for the characters.
    • 42 Metascore
    • 60 Tim Goodman
    They won't make you double over laughing (or maybe they will--your mileage may vary when it comes to comedy). But what does work here is the effortless ease with which Mull, Grier, Lawrence and Jordan never miss a beat.
    • 96 Metascore
    • 100 Tim Goodman
    Television's smartest--and easily one of its best--comedies, NBC's The Good Place, is set to return for its third twist-filled, morally complex season, and we're all better for it. ... The only show on television of any kind where you can get intellectually stimulating and abstract lessons on philosophy and morality while also laughing hysterically at made-up swear words and pop culture.
    • 67 Metascore
    • 40 Tim Goodman
    Single Parents feels like a comedy that goes for simple snark and believes it's a little more clever than it really is, but then had a bunch of network notes stuck to it about softening those right angles.
    • 53 Metascore
    • 40 Tim Goodman
    Thoroughly (maddeningly?) vanilla in so many devious ways that even the font for the logo and the manipulatively easy theme song and background music feel like a kind of manufactured nostalgia to sedate the masses.
    • 76 Metascore
    • 80 Tim Goodman
    Your results may vary depending on how important it is to you to have mental illness, grief, unhappiness and other important Big Ideas fully explored via characters you come to love. This theory will be put to the test in the middle stretches of the 10-episode run of Maniac, where Fukunaga truly gets unleashed. It's there where aesthetics tend to win over sustained attention to the core issues of the series--but there's no denying that it's hard to look away from almost any portion of what's going on.
    • 43 Metascore
    • 10 Tim Goodman
    Norm Macdonald Has a Show, his new Netflix series, is pretty terrible. It's labor-intensive to get through. In the moments when it's disastrously bad, you wonder if that's the joke; given that Macdonald is notoriously adherent to anti-jokes and anti-stories as a conceit, it's at least a possibility. But no. ... Norm Macdonald Has a Show is a painful thing to watch.
    • 77 Metascore
    • 80 Tim Goodman
    Forever wants to be weird in places, mysterious too--and some but not all of that works, because Yang and Hubbard are biting into some big themes within the limited time frame of eight half-hour episodes. But the series is never uninteresting. It has ambition on many fronts. ... Forever is already a slice of something unique in a crowded TV landscape, with the allure of morphing into something bolder in future seasons.
    • 84 Metascore
    • 90 Tim Goodman
    Homecoming is a visually dazzling thriller that plays on memory, the military industrial complex, conspiracy and unchecked government privilege to immediately set the hook as an intriguing, ambitious work of television.
    • 86 Metascore
    • 90 Tim Goodman
    The Deuce, with its brilliant writing, immersive atmosphere and uncommonly excellent acting, is exploring 1977. The four episodes that HBO sent for review reflect a more personal and interesting storyline for Gyllenhaal's Candy.
    • 67 Metascore
    • 90 Tim Goodman
    Showtime's best and most binge-worthy series in a long time. ... The result is funny, wildly inventive and utterly sad. To pull off what is conceptually the implosion of Mister Rogers is a real triumph.
    • 64 Metascore
    • 40 Tim Goodman
    There's not enough good writing here, not enough motivation to follow characters that are either intentionally half-baked or are merely uninteresting. Characters have quirks but the quirks prove there's not much else there. Smart people eventually do exceptionally dumb things. The early trends are not good.
    • tbd Metascore
    • 100 Tim Goodman
    In no way does it lose the sublime sauce that lubricates everything here--how movies and movie-making, or just the allure of Hollywood, capture the imagination of those outside that world while warping those within it. That's where the best comedy comes from in Get Shorty and there's no letting up on that element in the early going of season two.
    • 25 Metascore
    • 20 Tim Goodman
    Insatiable is trite, way over the top (even for a series that appears to be trying to go there for comedic effect), unfunny and, running at 40-plus minutes per episode, a bloated mess that's labor-intensive to get through.
    • 87 Metascore
    • 90 Tim Goodman
    The transmutation of Jimmy to Saul (and don’t forget Gene and his season-starting cameos) is likely to produce the best balance of darkness and humor that the series has mustered, if for nothing else than there's a gleeful appreciation on the part of the audience for Saul's shenanigans; their rising occurrence will be amusing while, at the same time, watching the exacting toll it took on Jimmy to get there will be distressing.
    • 69 Metascore
    • 80 Tim Goodman
    Lodge 49 is a lovely little show, wonderfully written with a deep, capable cast (David Pasquesi is another standout) and a welcome sense of quirky optimism and dark humor. It uses Long Beach and the ocean itself as characters; it confronts age, philosophy, dreams (both failed and yet to be realized), capitalism, hope and whimsy in ways that few series tackle.
    • tbd Metascore
    • 80 Tim Goodman
    Sacred Games has enough going for it to be considered a strong start. And for those who haven't sampled the impressive depth on Netflix's international TV series bench, Sacred Games provides the kind of intriguing thrills found in the best of those offerings--a worldly mise-en-scene that depicts something familiar but with unique local twists.
    • 85 Metascore
    • 80 Tim Goodman
    Luckily for GLOW, there's just something about the series that made it immensely enjoyable even when it wasn't firing on all cylinders or reaching its fullest potential. That's a real achievement and a testament to how engaging the cast was even in limited minutes. ... It's a testament to them [the cast] that what viewers do get is more than enough to keep watching and not giving up.
    • 84 Metascore
    • 100 Tim Goodman
    One of the tightest and brightest and most sublime miniseries--running at a meager three hours, one hour per episode--that you're likely to see on television in 2018. ... Grant's performance is a tour-de-force. ... Whishaw is also fantastic in bringing multiple shades to his portrayal.
    • 53 Metascore
    • 30 Tim Goodman
    A big, sprawling mess ... Yellowstone tries to be so expansive and soap-operatic that there's barely any realism in it.
    • 67 Metascore
    • 80 Tim Goodman
    Even amid the mad scramble to re-establish plotlines, there are plenty of funny callbacks. ... Luckily, by the third episode of the new season, the cylinders are firing a lot more effortlessly, and the series benefits from having the cast pretty much all back together for shared scenes. Episodes five, six and seven show Arrested Development at its best, taking a full sprint at ridiculously elaborate scenarios.
    • 58 Metascore
    • 30 Tim Goodman
    Motherland has too many parenting cliches to overcome, despite some funny parts. Nearly all of it is too forced, too set up, too predictable. Parents or not, your time is better spent on Catastrophe.
    • 80 Metascore
    • 90 Tim Goodman
    Two of five episodes is not ideal to judge where the miniseries ends up, but there's absolutely no denying that the writing, directing and especially Cumberbatch will make you want to return each week. For such a bleak story, that's quite an achievement.
    • 76 Metascore
    • 80 Tim Goodman
    There's never a sense that Westworld has tripped up, run out of ideas or reverted to some kind of redundancy. On the contrary, the series offers revelatory possibilities and pursues them in massively entertaining fashion.
    • 83 Metascore
    • 80 Tim Goodman
    The shortcomings beyond tone are frustratingly more simple--a couple of big twists are telegraphed well in advance, mostly by bad decisions the characters otherwise probably wouldn't make; there's too much convenience in parts, etc. But once you get into the rhythm of Killing Eve, it's got Waller-Bridge's signature raw snark, some goofiness tucked into the mayhem and, just when that seems a tenuous thing to pull off, two excellent performances from Oh and Comer to make it work.
    • 85 Metascore
    • 90 Tim Goodman
    There's still a tenuous connection to a sense-making plot (but only realistically if you watched Season 1). ... And yes, that gives me comfort only in the sense that what viewers will see in the opening episodes is such a perversely wonderful hallucinogenic experience--dance numbers, shape-shifting, the creepy sound of frozen people and their chattering teeth, explorations of color, astral plane hijinks and multiple WTF moments--that there's comfort in knowing it's not all just cinematic showboating, a Pollock/Rothko virtual reality with no meaning.
    • 86 Metascore
    • 80 Tim Goodman
    Expertly paced--no corners cut, but not flagging, either--and buoyed by subtle shifts in tone mostly rendered through fine performances, this new Howards End is both deftly separate from the classic and successful on its own merits.
    • 63 Metascore
    • 50 Tim Goodman
    The Dangerous Book for Boys is fine enough for the target audience. The problem is the target audience has already seen this so many times. ... Instead of taking the opportunity for true tenderness, real emotions and actual humor, Amazon has created a show in The Dangerous Book for Boys that is just another show, period. Opportunity missed.
    • 92 Metascore
    • 100 Tim Goodman
    They were, all three [episodes] of them, exceptional--clear examples of one of television's greatest dramas still very much on top of its game.
    • 67 Metascore
    • 50 Tim Goodman
    Trust is visually uncertain, but Boyle is quick to try to punch things up with a pounding rock soundtrack. And yet, even here the tone sometimes feels off.

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