Los Angeles Times' Scores

For 1,834 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 Big Love: Season 5
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 1029
  2. Negative: 0 out of 1029
1029 tv reviews
  1. It’s a sketch, essentially, effectively blown out to 40 minutes--not too short, not too long. Apart from the generally good jokes and the amusing imitations of period style, what makes Tour de Pharmacy good company is the overarching sense of play. That describes a lot of modern comedy, for better or worse, the sense that the players are on board primarily for the good time and camaraderie as much as for the material or the paycheck. It’s a feeling the modesty of this production only enhances.
  2. The last part of the documentary is a bit like an ad for Beats Music and Apple--and everything wonderful to come from these two men. “Apple is music,” says Iovine. But it’s the earlier hours that make The Defiant Ones a must watch for anyone invested in the history of hip-hop or modern pop.
  3. The problem is that the series is split among three narratives, and the time spent on the other characters dilutes a story that could have been told through Franklin. They are given equal time but half the depth, and since their stories take so long to intersect, Snowfall can feel like a meandering exercise in patience.
  4. There are some nice performances here--Watts is watchable from moment to moment, whatever she’s being asked to say, and for some viewers 10 episodes worth of the actress will be reason enough to invest the time. ... [But] almost nothing about Gypsy feels authentic.
  5. Is it beyond stupid? Yes, and happy to embrace the fact that no brain power is required to watch. There’s no true crime to solve, no political drama that feels uncomfortably close to the bone, no real-life Senate hearings or scary North Korean missile tests. Just people and the games they play, with witty commentary from judges and utter weirdness from maybe-Myers.
  6. The Mist comes with a serious lack of comic relief--characters make cracks, but they are on the whole more bitter than funny. Still, it is a well-made, if somewhat dour, creep show that delivers the shocks and awfulness you would be watching for in the first place and manages some decent dialogue in between.
  7. Some characters get more screen time than others, but none are shallow; all get to tell you at least a little bit about who they are, without making too obvious a point of it (The exposition creeps in on little cat feet.)
  8. As semi-ironic, dark and comic exercises in genre go, it is not as clever or carefully shaped as "Ash vs. Evil Dead." But it is miles ahead of "Sharknado" (which also lives on Syfy) and on the whole well-produced and directed, though its effectiveness varies from episode to episode and even from sequence to sequence.
  9. [Kevin Spacey] has a sense of play and fun. What mattered all the way through is that he was game. ... An evening with so many scheduled high points, so many moments of focused energy, can have a cumulative enervating effect. And yet, I will be honest, I choke up regularly and reliably through the Tonys.
  10. Sparkly nail salon culture, the low-life Floridian crime world and the close camaraderie of female friends is a winning combination for Claws, a series that favors true situation comedy and stylistic flair above trashy girl and bling clichés.
  11. Its only failings--and that is perhaps too strong a word--are a few re-created scenes of the actor’s acid sessions and some questionable or obvious juxtapositions of images. But the film has an interesting meditative pace and a kind of self-sufficient weight.
  12. Where [Oliver] Stone got more access, Kelly seemed to have little. She tried to deliver something substantive in under 10 minutes, and it wound up making her coming-out party more of a fizzle than a bang.
  13. It can feel a little predictable at times, even a little phony, including the odd meaningful speech made about purpose and authenticity.
  14. The mix-and-match dialogue has the opposite effect of helping non-theater majors assimilate. It’s awkward and distracts from an already hard-to-follow story. The performances here are also often buried under the dense narrative, not to mention way too many perfunctory sword fights.
  15. Overall, the new version of Dirty Dancing never finds its footing.
  16. It is a splendid, focused and wholly assured resurrection.
  17. Acting in his first television project, the Oscar winner portrays Madoff as an emotion-free money machine, taking advantage where he can, easily convincing himself that the people he’s bilking are aware of the game he’s playing, making them willing participants in their own downfall.
  18. The Keepers is much more sophisticated and well-researched [than “Making a Murderer”], offering several different probabilities throughout its seven episodes as to what happened to Sister Cathy. It also aims to solve a murder rather than set a convicted murderer free. It’s executed with empathy, but not to the point where The Keepers lets a foregone conclusion drive the narrative.
  19. A relatively quiet, at times almost meditative comedy with a talking animal at its center.
  20. The screen version does express many of Kraus' philosophical points through lines of dialogue and bits of action, but these seem inserted into the action instead of arising from it. And, apart from Roberta Colindrez as Devon, a local who works for Dick and has creative aspirations of her own, few dimensional characters emerge. Hahn and Dunn are fine actors, but their Chris and Sylvère are annoying from the beginning, and pretty much to the end.
  21. The surroundings add beauty to a story that is, at times, intentionally bleak, and the stunning landscape is a constant source of inspiration for Anne.
  22. The result is a wonderfully eclectic mix of gory bloodlust and fairy whimsy, ethereal beauty and tenement apartment realism. Special effects are masterfully used throughout American Gods to thrust viewers into alternate dimensions or let us know something otherworldly is about to happen. And when American Gods does get all supernatural, it’s beautiful.
  23. The series' inextricable mix of the personal and the political makes for the best of both worlds in the end, because Simien is sweet with his characters, who are, finally, sweet with one another. Principles matter here, but people matter more.
  24. A studiously handsome, generally impressive 10-part series.
  25. For nongeniuses, this joyful-to-watch series will answer every question you never had about space and time relativity.
  26. Yet if Great News is mostly what one might call theoretically funny, it is certainly not unwatchable. It has its untaxing pleasures. It would not be a stretch to call it amusing.
  27. What ties it together, keeps it in line and most makes it go is Dhavernas.
  28. This is a beautifully constructed space for a viewer to occupy for a while, while the story plays out--it's a place to go, though, title aside, that place is not necessarily, or ever, Fargo, N.D.
  29. The result is a production that’s often as messy, confusing and chaotic as the revolution it televises.
  30. It's a shame, really, that this particular arrangement of actors and characters won't last--the new season is running strong out of the gate.

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