For 996 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 4.1 points lower than other critics. (0-100 point scale)

Tim Goodman's Scores

Average review score: 64
Highest review score: 100 Reaper: Season 1
Lowest review score: 0 Spartacus: Blood and Sand: Season 1
Score distribution:
996 tv reviews
    • tbd Metascore
    • 80 Tim Goodman
    Allowing for the sweetness in Adams' original work to come out in this modern take is part of what makes the BBC-Netflix version of Watership Down work best. The conversations and character development of the rabbits are the bricks that build the story. And while the animation is at first a downside — seemingly retro, too saturated with brown and black tones, making many of the rabbits indistinguishable from one another — that limitation allows the voice work to shine, which of course relies heavily on Adams' lovely descriptions.
    • 75 Metascore
    • 80 Tim Goodman
    Early episodes don't leap off the small screen like they did last year (which is understandable, having lost the element of uniqueness) and a proper evaluation will have to wait a little bit longer. That said, all the episodes are strong.
    • 78 Metascore
    • 50 Tim Goodman
    Unfortunately, all the top-notch acting can't quite overcome the pacing problems of Escape at Dannemora. It takes five episodes to get out of the prison and even Stiller's most impressive and creative efforts at illuminating all the discovery, digging and sweat it took to get there can't make it more exciting.
    • 77 Metascore
    • 90 Tim Goodman
    A wonderfully sinister look at what happens when a mostly unhappy person in a mostly unhappy life opens the door to a manic pixie dream girl who also happens to be toxically awful and hard to shake upon further inspection. ... Davis is always doing something audacious with her comedy and it works because she doesn't ever blink or water it down, or laden it with sympathy. She's the master of how to do unlikable characters.
    • 80 Metascore
    • 100 Tim Goodman
    The delightfully creative series from writer, director and creator Steven Conrad (The Pursuit of Happyness, The Secret Life of Walter Mitty) returns better than ever, a wholly original vision that has distant-cousin connections to the vibe of the Fargo television series and Wes Anderson films, while being its own weird thing.
    • 79 Metascore
    • 80 Tim Goodman
    Bodyguard succeeds almost immediately at setting the hook and then races for six episodes and six-plus hours of pulse-pounding action and brain-bending twists, which, when it's all said and done, is more than enough to justify watching.
    • 69 Metascore
    • 80 Tim Goodman
    Writer Payne and director Snellin keep the story intimate (even when one big early twist seems more convenience than coincidence), managing a series of creative choices that bring enlightenment and surprise to a well-worn concept as each episode unfolds.
    • 71 Metascore
    • 80 Tim Goodman
    All told there's much to like in The Kids Are Alright, partly owing to the era being ripe with possibilities and partly because Doyle's sense of humor about his childhood rings mostly true as it reflects and finds well-earned comedy in nostalgia.
    • 50 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.
    • 83 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.
    • 68 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.
    • 54 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.

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