L.A. Weekly's Scores

For 113 reviews, this publication has graded:
  • 59% higher than the average critic
  • 5% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 1.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 The Wire: Season 4
Lowest review score: 10 Crumbs: Season 1
Score distribution:
  1. Positive: 66 out of 66
  2. Mixed: 0 out of 66
  3. Negative: 0 out of 66
66 tv reviews
  1. Gary Unmarried is pretty much business as usual, introducing us to a dude of simple pleasures.
  2. The show’s biotechnological twist on the double life of spies--or any superhero/alter ego construct--certainly satisfies the popcorn-thriller needs of My Own Worst Enemy, but I wasn’t expecting it to be as thematically resonant as it was.
  3. The irony of a series like Crusoe is that its provenance is a classic, much-analyzed novel, but the creators and NBC really just hope you’ll watch it because it’s Lost without the pretentious reach. And that’s fine, too.
  4. Leverage isn’t quite as effortlessly intoxicating--it must make do with the dependable but suave-challenged Timothy Hutton--but when it works, the TNT series has a rascally tingle.
  5. I was initially concerned that this was going to become a male Grey’s Anatomy... but Love Monkey creator Michael Rauch... keeps facile wisdom to a bare minimum, and a certain urban energy level turned up.
  6. It’s a testament to George’s confident handling of the material... that while it touches on many elements of the national crisis... the project avoids feeling like a bulletin-board movie.
  7. This is a series about whip-smart heroes, with an outbreak to contain each week, usually involving quick action, rapid analysis and fast wit.
  8. So far the stern-faced Lake Bell’s independent-minded oceanographer is too conventional a protagonist, while the series’ government cover-up thread... feels globally warmed over.
  9. Serious about its silliness, this show grasps the concept of prime time as vacation time.
  10. The “look what I can do” element is intrinsically enjoyable, if only because you’re waiting to see celebrity ass hitting ice.
  11. She’s turned what assuredly were hurtful years of feeling like a show-biz freak into friendly TV fodder that relieves viewers of the need to point while they snicker.
  12. A pleasantly diverting bumper-car drama of chance encounters, new friendships and random triggers.
  13. My Boys has easygoing charm and does feel like the amiably shaggy, hit-and-miss basic-cable cousin of a glossy network one-liner factory, its lack of laugh-out-loud moments not so much indicating system failure, but suggesting a game plan that aims for calmly assembling a group of occasionally witty characters and hoping you find them likable.
  14. Quick confusion in grasping the conspiracy web is understandable, but that doesn’t mean this series’ many hours... aren’t sufficiently tense and jarring to warrant your time. But if you’re even a mildly cynical A-section reader and/or devourer of suspense novels, and especially if you’ve enjoyed the many fine British multipart political thrillers that have graced our airwaves, like To Play the King and A Very British Coup and State of Play, then The State Within will seem either too familiar or too diffuse.
  15. [It] has a certain instructional dryness.
  16. It’s a more-than-solid cast, which is half the battle.
  17. There are intriguing elements here that promise to explore the aches, pains and joys of those committed to rebuilding something wrenched from them.
  18. Terminator: The Sarah Connor Chronicles is a serviceable enough addition to this particular pop-culture mosaic.
  19. Eli Stone is another lawyer hour disguised as feel-good rehabilitation fluff, with Eli now compelled to use his sharklike courtroom mojo to take up the causes of wronged underdogs against the kinds of heartless corporate clients his blue-chip firm typically represents.
  20. Even though it's obviously well-made and Bornheimer has a flinty wit that prevents him from being just another Ben Stiller–ish sap....if I'm being truthful, the original British version of this series was funnier.
  21. The oldies amount to a reset button in case you’ve never seen the show before, but it’s a toss-up if the umpteenth appearance of these loonies will make die-hards keep laughing. The new gallery of U.S.-born weirdos is slightly unremarkable.
  22. Filth too often comes off like a strained attempt at reversing the dynamic of a Marx Brothers movie, with Whitehouse the silly, charming agitator and Greene the insufferable aesthete foil with steam blowing out of his ears.
  23. The timing of a TV show is a different animal from the punchy joys of an in-and-out three-panel strip, and there’s a clunkiness to the pacing of this new Boondocks incarnation.
  24. It starts jumping in different directions so quickly that it loses focus.
  25. The problem is that seemingly everything is touched on... but the narrative is little more than a series of snapshots of how a congressperson’s office runs.
  26. The entertainment value in this otherwise rudimentary sitcom lies in watching Garrett aim for front-and-center Gleason-ness.
  27. Dexter is too chilly to be chilling, too affected to be affecting.
  28. If you’re a regular of the cable channel’s open-surveillance portraits of damaged-goods celebrity — Breaking Bonaduce, Being Bobby Brown and Shooting Sizemore — you will inevitably tune in to Dice Undisputed for delusion, not inspiration. And there it is in the first episode.
  29. While it's got that professional Burrows sheen of unerrant joke delivery--especially from the talented Galecki, who can do this in his sleep--you have to assume the pile of scripts on his desk in this hurting age for the three-camera studio-audience format isn’t what it once was.
  30. I don't feel negative necessarily about the flaws of quarterlife, but then I don't feel much at all about quarterlife either.

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