Los Angeles Times' Scores

For 1,330 reviews, this publication has graded:
  • 53% higher than the average critic
  • 4% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 3.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 The Sopranos: Season 1
Lowest review score: 0 Full House: Season 1
Score distribution:
  1. Mixed: 0 out of 707
  2. Negative: 0 out of 707
707 tv reviews
  1. Despite its equivocal title, Almost the Truth beats any Python documentary yet made for comprehensiveness and depth.
    • 58 Metascore
    • 80 Critic Score
    Fox's Back to You is back to TV comedy basics: multiple cameras, live audiences but, mostly, laughs.
  2. That nonjudgmental, easygoing charm is precisely why the people in Key's life put up with him, and why viewers will be drawn to him. Rake may be the story of yet another anti-hero, but it's difficult to remember one this likable.
  3. The dialogue is "Deadwood's" calling card, with its mixture of gutter and Elizabethan grace. It layers Milch's broader, working theme -- the coming-together of various organisms to create a single, functioning one.
  4. It's not only the episode's sharp writing but also its eroticism and its balance between the naivete and predictability of Neil and the spontaneity and instability of Alicia that give 'Flying Blind' its uniqueness. What a nice beginning.
  5. Three episodes in, the story is certainly serpentine, at times self-consciously so. But there does appear to be writerly method in the madness. More important, there is Farmiga, and she, like Norma, appears up to any task.
  6. A funny gala of fresh, cleverly bent whimsy and endearing lightness that brings out the burlesque best in Christine Taylor, allowing her to far exceed her campy neo-Marcia in two movie revivals of "The Brady Bunch."
  7. It's a powerful meditation on what happens to a community once a galvanizing threat is removed but then returns, albeit in a more benign state.
  8. Playing it long and lugubrious but with a tantalizing twinkle, Lewis (last seen in the States as the hateful husband in "The Forsyte Saga") may well wrest the mantle of sexiest troubled American played by a Brit away from Hugh Laurie.
  9. Birds of Prey follows in the great tradition of superhero noir. It's grim, dark, smoky and, most important, ripping good fun as these butt-kicking Dynamic Dolls have themselves some nights on the town.
  10. It is well-written and certainly well-acted, with plot and psychological twists as numerous and tantalizing as the streets on which they occur.
  11. Covert Affairs may not have the revenge factor of "Burn Notice" or the bromantic banter of "White Collar," but it's fast-paced, fun and every bit as charming.
  12. The dialogue has a nice snap, the jokes come from just to the left of where you expect them to, and the players are all first-rate.
  13. A few caricatures stick out among the characters, but the subtler conceptions, on the page and in performance, win out.
  14. There's still blood and gore all over the floor, mind you. Not to mention rape, gruesome torture and evil run riot, and that's just the first episode. But there's also a lightness of touch and tone, a backlight of sly humor and, more important, a clearly delineated narrative.
  15. A delightful, knockabout new sitcom.
  16. [An] immediately exciting new season.
  17. Artistically, it may be an unnecessary appendix, but I'm not complaining. More pie? I will make room somehow.
  18. Warehouse 13 is unapologetically and delightfully derivative, happily plucking the best stuff from our favorite shows and leaving all the heaviness behind.
  19. The Strain is an old-fashioned, marks-hitting horror quest in which a band of unlikely warriors attempts to defeat a thing of unspeakable evil Before It's Too Late.
  20. Close's performance illuminates rather than outshines with its high wattage.
  21. Community continues to achieve a tricky balance of cynicism, sentiment and surreality.
  22. You can't really improve on the story of "Oliver Twist"; the best you can hope for is to bring it to life, which the two-part "Masterpiece Classic" version skillfully does.
  23. From the start, it's mostly on Hall to seduce us, and he's so artful with the material that he consistently elevates it.
  24. Refreshingly realistic in some ways (there is much jumping out of high windows, but the jumper is often actually injured) and soothingly romantic in others, "The Musketeers" is a captivating balance of spectacle and story, true enough to the essentials of the original, modern enough to understand the necessity of humor and self-reference.
  25. Be assured, "NewsRadio" is no "Larry Sanders." Yet just like that HBO series, Simms' new one plays better than it reads. That's because the characters are imbued with amusingly quirky affectations that aren't necessarily visible in a script.
  26. Though neither naive nor mum about its subject's destructive complications and contradictions, his brutal youth and abuse of women, Alex Gibney's film concentrates on Brown the performer--both as a musician and as a public political personage, the voice of black pride (say it loud!) and economic self-sufficiency.
  27. The heroine's fearless and clever character, the self-knowledge and self-possession her tormentors lack, and her gift for survival are fixed from first to last. She is sometimes thwarted but never altered. If this makes The Book of Negroes less psychologically complex than it otherwise might be, there are real pleasures and comforts to be had from it.
  28. For all its moments of poetry and insight, Mad Men too often feels less like a drama and more like the staging of a really good master's thesis.
  29. Although Romano is the keystone of the group, it is very much an ensemble drama buoyed by writing that protects the characters from the perils of self-pity and self-indulgence with quick and gentle humor and plot points that capture the forces a middle-aged, middle-class man might actually battle.

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