Los Angeles Times' Scores

For 1,851 reviews, this publication has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 2.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Seinfeld: Season 1
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 1042
  2. Negative: 0 out of 1042
1042 tv reviews
  1. Insatiable makes “Norbit” feel like a comedic masterpiece, and in 2018, there’s nothing noble about that distinction.
  2. The three-episode period drama deviates from the book’s narrative yet still manages to weave an equally intriguing whodunit.
  3. The show’s hour-long episodes are generally pretty entertaining, thanks to the charm and timing of O’Connell [as Harley Carter]. ... The strong chemistry between Harley and Sam is another draw here. They’re fun to watch, as is their third childhood friend, Dave (Kristian Bruun).
  4. An hour-long comedy, rich with dramatic complication and depth of feeling, it is not without crises and conflicts; but it is also not weighed down with murders or monsters.
  5. Its meanings are sometimes obscure and sometimes obvious, nearly to the point of being polemical, and most often somewhere in between. But its surfaces are always interesting and splendidly executed. Even the glitches are artfully placed.
  6. If the first few episodes are any indication, this is yet another disturbing/thought-provoking mystery worth unraveling.
  7. You would have to be a most grumpy, dour, negative, naysaying, stubbornly unhappy, anti-life sort of person to turn up your nose at NBC’s Making It. ... [Amy Poehler and Nick Offerman's] reactions to the work are often more interesting than that of the judges, who tend to be, you know, judgy; when the hosts weigh in, it feels spontaneous and heartfelt, as if they can't stop themselves.
  8. A potent, moving six-part documentary offering fresh insight into the 2012 killing of unarmed teen Martin by 28-year-old vigilante George Zimmerman. ... It’s the way in which directors Jenner Furst and Julia Willoughby Nason connect new and old details of the case with its wide-spread effect that makes Rest in Power a comprehensive, emotional and brutally honest look at America since that fatal shooting.
  9. The series is as good as it needs to be, and maybe a little better. Like other Canadian dramas that have made their way south across the 49th parallel, it is attractively modest in ambition and execution, without feeling cheap or flimsy. Many of the elements in the story are familiar, which is not the least attraction of this summer entertainment, the narrative version of a beach read.
  10. In every respect it’s the equal of, and largely superior to, any of the actual King adaptations that have come to television lately.
  11. It's an intimate, largely inside look at the actor-comic, a mosaic of clips and commentary from those who knew him pretty to very well. It will reinforce, not remake, his public image as a private sort of public person; a sensitive, sometimes insecure soul strapped to a rocket ship mind, a long-distance sprinter.
  12. The show is a mixed bag; some of it successful, some of it irritating, some of it funny when it is also irritating, some of it not irritating but not particularly funny either.
  13. The series, which is humorous enough and romantic enough and as bloody as it needs to be for the international market, is not completely predictable.
  14. As the title suggests, HBO’s new series cuts deeper when it dramatizes female-centric issues such as sexual assault, dysfunctional marriages and motherhood, making it both a more compelling and difficult watch.
  15. Real life does not always lend itself to dramatic adaptation, but Davies and Frears manage to make of it something both thoughtful and antic, historical but only in the brief asides a history lesson. They fill up the corners of the story with a roster of British eccentrics fit for an old Ealing Studios comedy who, paradoxically, make "A Very English Scandal seem more lifelike than not.
  16. Next of Kin is full of mysteries worth solving. But the slow pace can sometimes prove a challenge. And otherwise smart characters make uncharacteristically stupid decisions that are hard to believe. ... The show comes with so much cultural baggage it’s hard not to notice when it veers into the same old clichés that underpinned “24” and “Homeland.”
  17. Argott, whose credits include another strong music-oriented doc, 2011’s “Last Days Here,” absorbingly captures Reynolds’ journey of self-discovery exploring the troubling intersection between Mormonism and the LGBTQ community. ... Throughout, Reynolds approaches the range of people and issues he encounters with warmth, candor and earnest support. ... Argott vibrantly captures the highlights of LoveLoud in all its joyously musical and deeply emotional glory.
  18. Take Two is a lighter proposition than "Castle" eventually became--but Bilson and Cibrian are airier presences than their predecessors, and a lack of gravitas suits them. ... Take Two promises to be just that sort of enjoyable show, and if it brings nothing new to the table, that is the meal we have come for. To make too great claims for it would be in a way to insult its not-untasty flavor.
  19. Yellowstone basically offers conflict for the sake of conflict, and character for the sake of character. TV's family epics run from the absurd to the serious; Sheridan's sits comfortably between them--it's elevated comfort food, well conceived and well prepared, but still, you know, hamburgers and hot dogs, fried chicken and waffles. People find that very satisfying.
  20. The scenes with their friends tend to be livelier and lighter and more ordinarily lifelike than those that Nuri and Yasir have together. They keep Love Is_ from sinking under the weight of its own ardent sincerity.
  21. For most of its two hours, “Man in an Orange Shirt,” directed by Michael Samuels, neatly knits the cinematic and sweeping with the subtle and specific into a kind of naturalistic melodrama. It will fill you with feelings, if you let it.
  22. The production has an appealing natural finish to it, enhanced by scenes that play largely or wholly in French or Arabic. ... There are enough action sequences, realistically staged, to maintain the genre cred--a fight here, a rooftop chase there--but for the most part the show runs efficiently, and not hastily, on suspense and character.
  23. The upside of such a leisurely arc is that it allows for conversations into which exposition is less obviously inserted, and scenes have time to wander before getting to a point. The downside is that, spread across so many hours, the action tends to run in circles over the same ground.
  24. Pointing out that there’s nothing particularly original or groundbreaking here, notwithstanding its real-life roots, is not to deny the series' pleasures, from its performances to its production design--and what, after all, is less original than real life?
  25. A refreshingly unpredictable and smart take on the usual caped-crusader fare.
  26. As the plot lines stretch this way and that and back into the past, the main thread--there is one--can get a little lost. Still, the parts themselves make sense, even when you can’t recall how they fit together.
  27. Dietland is a wonderfully absurd exaggeration of the rage that’s driving sea change like the #MeToo movement. The Harvey Weinstein effect is satirized here, his depravity and the victim’s fury filtered through dark humor, and that dark humor woven into a quirky yet compelling drama.
  28. Throughout, the series runs on a kind of self-supporting enthusiasm, and is borne aloft by some extraordinary performances. ... Their [Mj Rodriguez and Indya Moore's] work here is natural and moving; they ground what's melodramatic in the writing and keep the fantastic elements in the production from swamping what's human in the story.
  29. [Succession] is sharply written and expertly played. The characters are individual enough to feel original, however much they may adhere to type, and Armstrong's dialogue, layered and overlapping at times in the manner of Robert Altman, nicely models the way people talk around things, the poker game that is human conversation.
  30. Clues to Landry’s murder are supermodel thin, but Strike finds them as if he has hidden wizarding powers (he does not). The suspects and leads are blindingly colorful in contrast to the rumpled, low-key detective. ... The disheveled detective is of course irresistible to [temp Robin Ellacott (Holliday Grainger)] too, so you can probably guess the answer. Viewers, however, my find him--and his cases--less interesting.

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