Los Angeles Times' Scores

For 1,811 reviews, this publication has graded:
  • 54% higher than the average critic
  • 4% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 2.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Samurai Jack: Season 5
Lowest review score: 0 Painkiller Jane: Season 1
Score distribution:
  1. Mixed: 0 out of 1010
  2. Negative: 0 out of 1010
1010 tv reviews
  1. It's not without problems, mostly having to do with pacing and length and a certain narrative repetitiousness that creeps in when your story arc lasts 10 hours. But its solutions to building out and modernizing characters who in the original were brightly painted cutouts are generally sound, while some basic alterations to the premise help ensure that the new series is not the cosmic "Gilligan's Island" the '60s series became.
  2. The dialogue has some of the snap of Alfred Hitchcock, both main and minor characters (again as in Hitchcock) are well-played and vivid.
  3. The film is watchable, certainly, but also wayward. Its effects feel scattered, its points lost as the story looks here, looks there; Paterno has many things to show you, but less to say.
  4. Even when the show is disappointing, it somehow remains likable. It could be better; it isn't bad. As the story of an indomitable person coming back to a changed world, it has some of the attitude, and the sunniness, of "Unbreakable Kimmy Schmidt." Lines may fall flat, but there is enough chemistry among the players — the stars, the guests and the regulars, notably including Allen Maldonado ("black-ish") as Tray's intensely cheerful young cousin Bobby--to keep The Last O.G decent, indecent company.
  5. It is watchable, even diverting television; but it is definitely good Zahn.
  6. The show was a collision of religion and theater and pop culture that could have been one holy mess. But by the grace of God, or maybe a great cast and lots and lots of expert staging, a great musical became a great TV production.
  7. There is darkness in the series, but it all bends toward fuzzy good feelings in the end. Actually, it feels pretty fuzzy all the way through, conscientiously warm and mostly predictable. Lessons are learned, right on time. Some viewers, and parents of viewers, will take such qualities as a recommendation, and they're not wrong to.
  8. The premium cast elevates Trust from a good TV series to an absorbing, cinematic venture.
  9. They've done a great job reviving the show without forfeiting its original appeal, which is no easy feat.
  10. The Terror, which premieres Monday, turns a macabre slice of history into a beautifully executed, 10-episode tale of the fight for survival. Nerve-wracking suspense, a deceptively gorgeous landscape and the deeply developed characters lend a rich, big-screen quality to The Terror's hour long episodes.
  11. Like other Rhimes productions, the show is very much a work of capital-T Television, a turbocharged melodrama in which twists and surprises transpire with comforting predictability. ... At the same time, Rhimes' series feel "real," and relatable, however absurd they may become, because they are packed with intense emotions.
  12. There's a compelling narrative here, but the drama lacks the fireworks and color to keep things engaging.
  13. A highly pleasurable new documentary series.
  14. On My Block suffers from some stiff writing and amateur performances, but it possess a charm that's hard to resist. Perhaps it's because nothing earth-shattering happens here, and for a story that takes place in the hood, it's a refreshing turnabout.
  15. It is predictable, sometimes down to individual lines; the title itself gives the arc away. But predictability is part of what makes musical theater tick; it delivers the thrill the crowd comes for, dramatic tension leading to inspirational release.
  16. The cases they work are interesting in a ripped-out-of-the-headlines sort of way, but they're not given enough attention to counter the predictable dramas enveloping them.
  17. It's all pretty absurd, but the show is too light on its feet to begrudge for long.
  18. The breezily funny Champions might fare better if it makes things tougher on itself. ... That said, the moving parts that make up Champions will probably win you over.
  19. The show delivers decent enough action-movie pacing in a gruff, amoral universe that really wants to be reminiscent of "Training Day" or "The Shield," but with so many one-dimensional characters saddled with leaden dialogue, it falls well short. Some half-hearted groundwork is laid for the possibility of redemption in a few Ravens, but there's so little evidence of something deeper or surprising anywhere on-screen that it's difficult to care.
  20. The brilliantly executed comeback of an already smart series is the perfect parable for our times.
  21. It is as stylish as it is unpleasant, and there are some well-staged action scenes, but overall, the series is loud and tiring, like spending an hour in an MRI machine.
  22. A witty show full of attractive, well-spoken people that manages to be a feel-good series even as it remains skeptical about its being a feel-good series. It has it both ways, all the way. ... Cake is eaten, and had, too.
  23. What the filmmakers show is all worth a look, and maybe a second one. (Residents get a say too; note the inevitable, but never unwelcome, black barber shop scene.) It opens you up to different, conflicting points of view--or at least reminds you that they exist--which is just what you want from such a series.
  24. A painfully funny follow-up to a debut season that seemed hard to top. ... [Robbin' Season] is loaded with the same brilliant mix of social commentary, internal dialogue and making something out of nothing.
  25. [Unsolved] manages to permeate the layers upon layers of conspiracy theory, mythology and true crime intrigue that still envelops the unsolved crimes, with a painstaking recall of key events. With compassion and respect for the victims of these crimes, they explore what may have happened, and the results are intriguing, especially if you've followed the case over the decades.
  26. It's true, this original miniseries, premiering Wednesday, demands a certain patience and commitment from its audience as it unpacks the impossibly complex geopolitical and domestic components that led to the rise of Al Qaeda, Osama bin Laden and the fall of the Twin Towers. But the payoff is a show that blooms into an all-consuming drama by Episode 2.
  27. Even setting aside the show's lack of interest in the complexity of faith, it's greatest sin is simply not being funny enough. The characters are too thin and familiar to generate laughs on their own, and some jokes rely too heavily on references while others just don't make sense.
  28. The writing has promising moments but is more safe than daring, which renders the characters a bit too tame, especially in a narrative where the women's morality is challenged by their increasing levels of desperation.
  29. The larger set pieces feel reasonably well populated and a computer-assisted heist (those shipping containers, mentioned above), accomplished by minor but vividly portrayed characters, is more convincing than such sequences usually are. What's difficult is caring what happens to most of these characters for any amount of time
  30. As a satire on science-fiction and the world we ordinarily live in, it is not as clever as "Futurama" or "The Hitchhiker's Guide to the Galaxy" or "Galaxy Quest," series with which it shares certain features. The comedy leans toward things adolescent boys find funny. ... But it clips along and looks good.

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