Los Angeles Times' Scores

For 1,240 reviews, this publication has graded:
  • 52% higher than the average critic
  • 4% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 3.4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 The Sopranos: Season 3
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Mixed: 0 out of 648
  2. Negative: 0 out of 648
648 tv reviews
  1. The domestic version... is every bit as good as the original.
  2. In its emphasis on character over plot it reminds me of movies from the pre-Spielberg '70s, and is in so many ways what I want from television that I feel almost like phoning each of you personally to deliver the news.
  3. It is, to put it bluntly, a cast to die for. Each story line is well-drawn and compelling and each subtly represents a thread of Paul's own issues that come together in Gina's office even more effectively, if a bit more sentimentally, than they did last season.
  4. What is remarkable about "Life Support" is how it avoids every pitfall of the standard issue-based TV film and, indeed, of most TV films, period.
  5. Mad Men has found a strange and lovely space between nostalgia and political correctness and filled it with interesting people, all of them armed with great powers of seduction.
  6. For those Americans who have fallen through some wormhole and have never seen "Law & Order," the British version is as good a place to start as any--Walsh, Bamber and Agyeman in particular deliver fine performances. And those put off by the new "Law & Order: Los Angeles" or just jonesing for the good old days, will no doubt find a trip to London positively...brilliant.
  7. Terrific acting, crackling dialogue and geek-hip crime are not the only things that make this the most electric drama to premiere this fall.
  8. With Treme (which refers to a New Orleans neighborhood and is pronounced treh-MAY), Simon, co-creator Eric Overmyer and their team of writers (including the late, great David Mills) have proved that television as an art form cannot only rival Dickens, it can hold its own against Wagner.
  9. There are only three patients this time around, and their stories, written by executive producers Anya Epstein and Dan Futterman, offer a thematic cohesion that seems richer, though perhaps more familiar. More important, the show remains a rare and wonderful opportunity to watch fine actors work their way through excellent material, earning it consistent praise and HBO's commitment, despite low ratings.
  10. The filmmakers do not beat a political drum, they do not use an impassioned script or a soundtrack comprising brass and strings; they do not attempt to incite anger or outrage, sorrow or resolve in any way. Instead, they present the facts, simply and gracefully, and the result is devastating.
  11. Haynes has created not only a rich and nuanced vehicle for his A-list cast--among them Kate Winslet, Evan Rachel Wood and Guy Pearce--he has given us a rare and valuable gift: an American melodrama about class.
  12. Becoming Chaz is undoubtedly one of the most thought-provoking films you will see on any screen this year, a frankly chronicled tale of Chaz's life as a transgender man that opens a more than occasionally mind-blowing conversation about the essentials of gender, and subsequently, sexuality.
  13. It is big, beautiful, beautifully acted and romantic, its passions expressed with that particular British reserve that serves only to make them burn brighter.
  14. Enlightened is to my mind the most interesting and ambitious series of the fall season.
  15. This may be the better work [than "No Direction Home"], for its depth of feeling and its relatively more forthcoming and knowable subject.
  16. Notwithstanding a certain stylistic chilliness and my sense of it having been pitched on the back of "Inception," it promised to be one of the year's best and most interesting new series. Having seen four episodes now, I'd say the promise has been largely kept.
  17. Highly arresting. [20 Sept 2002, p.C1]
    • Los Angeles Times
  18. The performances are so wonderful it feels wrong to single any out. But Whishaw finds great power in stillness; Hiddleston fits himself admirably to his character's stages and turns of mind, resolving his coldness with his warmth, his cruelty with his generosity. And there is Beale's Falstaff--marvelously poignant, a scoundrel-hero, getting everything wrong. His sorrow at losing the transformed Hal is as tragic a moment as any here, his fall no less thunderous than Richard's.
  19. Parade's End must be taken on its own terms, because it is offering something rare and provocative: a poetically precise consideration of what it means to be caught out of time, clinging to the lip of one era or reaching desperately for a foothold in the other.
  20. A dozen characters, played by the inevitably glorious assortment of British actors, crisscross in an astonishingly fluid game of cat's cradle, bringing this small town miraculously to life but never straying too far, or too absurdly, from the narrative through line.
  21. By rooting Top of the Lake in the real, Campion gives her more fanciful inspirations legs, and the mystery--which is, needless to say, not merely or even mostly the mystery of a missing girl--room to breathe. I have no idea where any of it's headed. But I am going along.
  22. This is a rare TV union where cast, writers and directors appear to be of a single comedic mind; the humorous results speak for themselves. [7 July 1990, p.F11]
    • Los Angeles Times
  23. [A] rip-roaring, hilarious half-hour show... It ranks with HBO's "The Larry Sanders Show" as the creamy class of the new season's comedy series.
  24. As much as I love what Lewis and Patinkin—as well as Baccarin and Saylor—do here, Danes is what makes Homeland remarkable.
  25. It is the best new show of the fall. It's a rapturous mix of absurdly fairy-tale-romance and frantic modern complications, set in the picturesque drear of Yorkshire and brought to life by masterfully shaded performances.
  26. Marta Cunningham's documentary Valentine Road is a profoundly disturbing and extremely effective attempt to make us stop in our tracks and try to answer the questions we so patly ask.
  27. It's a dark and astonishing gem of a show, with a bravely skillful cast juggling the petty obsessions of the workplace with Much Bigger Issues.
  28. Surviving Jack is terrific. Funny and smart, poignant and believable, it is undoubtedly the best new comedy of the season.
  29. Beneath the twists and turns of Orphan Black's increasingly deep and vivid story lines lie the even more basic theme of revelation: How would you react if you discovered that what you had come to know as your life was based on misinformation.... From the space between wreckage and rebuilding comes much of our great literature, music and art. And now, Orphan Black.
  30. It's a terrific idea lyrically written and perfectly cast.

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