Los Angeles Times' Scores

For 1,536 reviews, this publication has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 3.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Seinfeld: Season 1
Lowest review score: 0 Cavemen: Season 1
Score distribution:
  1. Mixed: 0 out of 820
  2. Negative: 0 out of 820
820 tv reviews
  1. 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.
  2. Among the most gratifying and promising new series of the fall season. [29 Sept 1998, p.F1]
    • Los Angeles Times
  3. A scorching look at the drug trade in a Baltimore housing project through the eyes of mid-level dealers and police. [31 May 2002, p.C1]
    • Los Angeles Times
  4. 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
  5. The lingering concussion of Sept. 11 does nothing to undermine Fox's new thriller focusing on terrorism. Instead, it adds to its credibility and makes it all the more gripping. [6 Nov 2001]
    • Los Angeles Times
  6. 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.
  7. Enlightened is to my mind the most interesting and ambitious series of the fall season.
  8. Cancer is, of course, its own ongoing holocaust, and Goodman is determined to examine it thoroughly, objectively (which is not to say clinically) and fearlessly. The result is possibly the least live-tweetable six hours of television you will ever see and also among the most important.
  9. Yet another of fall's superior new dramas. Devoid of caricatures, this one is by far the best-ever TV depiction of the big fellow, framing him nicely as part of a coming-of-age story and treatise on little town America, before he moves to Metropolis and becomes Christopher Reeve. [16 Oct 2001, p.C1]
    • Los Angeles Times
  10. It is big, beautiful, beautifully acted and romantic, its passions expressed with that particular British reserve that serves only to make them burn brighter.
  11. The sexy, urbane Friends -- from Marta Kauffman, David Crane and Kevin Bright, the people responsible for the HBO super-comedy "Dream On" -- starts fairly strongly tonight, improves next Thursday and in week three gets on a grand, hilarious, rip-roaring roll. It's the perfect series to bridge "Mad About You" and "Seinfeld." [22 Sept 1994, p.F1]
    • Los Angeles Times
  12. Highly arresting. [20 Sept 2002, p.C1]
    • Los Angeles Times
  13. Great stuff. Not a perfect strike, but close. [7 Oct 2000, p.F1]
    • Los Angeles Times
  14. It is striking more for its form than its contents, which are familiar. ... But it looks and feels like nothing else on TV.
  15. 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.
  16. It's [Jessica Jones'] superhumanity, rather than her superpowers, that makes the show so riveting.
  17. Each of the main pairings could hold a lesser show aloft; that Holland attempts to juggle and then connect them, while also exploring the divine and mundane events that draw people together, is impressive. That he pulls it off with wit and wonder is simply amazing.
  18. There is a quiet naturalism to the production, quite distinct from Hollywood horror, in which every trick in the audio-visual book is marshaled to jolt you as far as possible out of your seat when the scare comes, and also from supposedly found-footage films ("The Blair Witch Project" and its progeny) that use aesthetic chaos to suggest actuality. This is altogether more mature.
  19. It is impossible to watch the gravity-defying catches, the Olympian throws, and the hits soaring into the stands and not be moved. Watching professional athletes in the moments of their glory is a wonderful thing; knowing what was at stake makes it even more moving.
  20. Crafted to satisfy those generations of viewers for whom even "The Empire Strikes Back" looks quaint and old-fashioned, it is no less thought-provoking for being made to be fun.
  21. The show improves as it gathers context, and before long you stop thinking about what makes this Arrested Development different from all other Arrested Developments.
  22. It's delightful, all in all.
  23. But it's Claire, and the Underwood marriage, that makes "House of Cards" more than just a better-than-average addition to the genre of Antihero Drama Being Used to Establish a New Fiefdom in the Television Landscape (see also "Nip/Tuck," "Dexter," "Mad Men," "Vikings" and "Klondike").
  24. Scenes unspool, lives unwind, wicked acts are done, but so is justice, and under the lovely and indifferent African sun, it seems there is all the time in the world. It's hard to imagine a better place to be.
  25. Along with the story line insights, there is a feeling of control overarching the early episodes, a narrative fluidity replacing the spikier, and quickly tiresome, need to shock. Oh, Hannah's still naked and body fluids anchor several conversations, but Girls seems to be maturing as a creative enterprise just as its characters are maturing as people.
  26. There is a cool cleverness to the show that is both attractive and off-putting; the characters are flawed and hyper-aware of their flaws, the stories so bent on covering every angle of self-examination that there is no real role for the viewer to play.
  27. [An] enlightening biographical documentary.
  28. Funny, yes, but in a revelatory way. It is not unusual for a working mother to view every relationship in her life as simply a matter of fulfilling the next indicated task, but I don't think it has ever been so wonderfully, and painfully, captured on television before.
  29. Writer and executive producer Jonathan E. Steinberg does an admirable job preserving the smart-mouth humor and ker-pow, splat fun while creating story lines and characters grounded in the alpha-male charm that made guys like Pierce Brosnan, Bruce Willis and Robert Conrad so popular.
  30. The strength of the series lies not in the whodunit elements--it isn't hard to work out who's behind it, even if it isn't immediately apparent why--but in its eye for local details and small human gestures.

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