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 2 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 October Road: 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. Even when Unhitched isn't funny--and the second episode is definitely an improvement on the pilot, which tries too hard--it at least isn't vile.
  2. I’ll come back to Crash the TV show, but for now, the acting doesn’t exactly induce gaper’s block.
  3. Fringe is a smorgasbord of a show, but one a little too synthetically engineered to allow you the chance to discover what it is
  4. United States of Tara plays like surface feminism with an added gloss of snark and a bewilderingly blah sentimentality.
  5. Swingtown is far from a great show, but until it feels obligated to give killjoy lip service to the downside of sexual freedom--note the transformation on Molly Parker’s postcoital face at the end of the pilot--here’s hoping it has its chance to be rompish and fun and a pain in the side of standards and practices.
  6. 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.
  7. I hope future episodes don’t feel as if somebody took three hours of material and reduced it to one.
  8. The show is too diffuse, hokey and self-consciously portentous to suggest suspenseful possibility.
  9. This is one decidedly unfrightening resurrection of the Night Stalker.
  10. 3 Lbs. seems like microwaved leftovers.
  11. Secret Diary of a Call Girl is the kind of hotly lit, coldly stylized dreck that purports to be classy, high-minded softcore but is actually as witless and dreary as, well, paid-for jollies.
  12. Really, I just wish it were funny. Not walking-banter funny, or look-what-I-know funny, but funny funny. Even a little bit.
  13. Rarely rises above the level of cut-and-dried cops-and-bad-guys tale.
  14. Based on the pilot of Emily’s Reasons Why Not, there’s no worry that this half hour from ABC... will be honest, or real, or even funny.
  15. Lipstick Jungle is a strangely dour affair--its shadowy, chilly depiction of New York fits right alongside the NBC house style of Law & Order--and is almost misshapen in its clunky blend of drama and comedy.
  16. Hunter seems to mostly flail in a show that is too unremarkable for her talents.
  17. Unfortunately, the young actors on display aren’t compelling enough to make us care much beyond their sometimes stupidly self-induced crises.
  18. In Plain Sight already seems tired with its crime-of-the-week, flawed-protagonist self.
  19. The series quickly begins to resemble one of those fake sitcoms you’d see in a snide movie that likes to take easy potshots at low culture.
  20. Angst is saved for the final two minutes when Hank is alone, driving at night or sitting in the dark, supposedly brooding over his inability to...what, fit one more lay into the day? Because it’s a false dilemma this dishonest, unfunny, dispiritingly crude show presents.
  21. Not helping matters... are the wretched dialogue, indiscriminately moody lighting, stock characters (gruff boss, dweeby tech guy, ripped chauvinist colleague), and crushing lack of suspense.
  22. It mistakes boorishness for zaniness.
  23. It almost seems to thrive on triteness and lack of cohesion.

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