Los Angeles Times' Scores

For 1,648 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 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Louie: Season 4
Lowest review score: 0 The Black Donnellys: Season 1
Score distribution:
  1. Mixed: 0 out of 898
  2. Negative: 0 out of 898
898 tv reviews
  1. It sings. Mournfully, triumphantly, poignantly, of failed dreams and second chances; of the simple mistakes that accumulate into tragedy, of the cold calculations required by redemption. But mostly it sings of itself, an anthem to television’s unique power to turn a series of understated performances into sustained magnificence.
  2. Given the extravagances of the plot and the characters, that it feels plausibly seated in the real world is a testament to everyone involved in its production. But it is especially due to the actors.
  3. To my mind, it's the best series of the fall, and with the tonally similar "Top of the Lake," possibly of the year.
  4. The acting is sublime, the writing wicked sharp, the sets and camera work astonishing, and in terms of ambition, be it narrative, creative, logistical or geographic, no other series comes close.
  5. It isn't just good TV, it's revelatory TV. The genre's biggest potential game changer since AMC debuted the one-two punch of "Mad Men" and "Breaking Bad."
  6. Arguably the best reason to own a TV set.
  7. This is not just whistling Dixie. Although basically comic, and not without moments of beauty and relief, the series is a dream in which you escape one trap only to fall into another, elude your pursuer only to find him somehow before you, and where hope springs eternal only so it can be eternally snatched away. But you should watch it, anyway, and take your time.
  8. Centered on a career-redefining performance by Jeffrey Tambor as a retired professor finally allowing himself to live his true life as a woman, the half-hour, 10-episode series is, quite simply, astonishing to watch.
  9. [A] lovely, ruthless, masterfully restrained two-night, four-hour contemplation of love, marriage, parenthood, mental illness and identity.
  10. Once your eyes adjust to the bedazzled opulence of Liberace's life in '70s and '80s Las Vegas, Behind the Candelabra becomes a darkly moving and provocative look at two lonely men who briefly found something like love before the maelstrom of fame, money and drugs, all churning within the confines of the sexual closet, blew it apart.
  11. "The Sopranos" remains the elitist of the elite. ... Competing against its shimmery self, and the lofty expectations it creates, "The Sopranos" resurfaces once more as a superbly written and executed hybrid of popular entertainment and high art, offering up its own Golden Age of TV.
  12. Breathtaking, heartbreaking, awe-inspiring and addictive, it remains the single most remarkable feat of television, possibly ever, increasingly admirable for its ability to grow rather than simply sustain.
  13. In early episodes, Big Love quickly reclaims its astonishing ability to balance the insightful and the absurd, hilarity and heartbreak and the personal with the political. The hours race by and already the final season seems far too short.
  14. Gandolfini and Falco are excellent, as is the supporting work of Imperioli and others. And that grande dame of troupers, Marchand, is so coldbloodedly plausible as Livia that her eyes are ice and you can almost hear her heart freezing over. [8 Jan 1999, p.F1]
    • Los Angeles Times
  15. A cops-and-crime hour reeking of atmosphere, wit and intelligence, an invigorating, essentially nonviolent series about homicide detectives that could be the "Hill Street Blues" of the '90s. [29 Jan 1993, p.F1]
    • Los Angeles Times
  16. The wittiest, smartest, sharpest-written, most original comedy of the season.
  17. It's like a procedural drama, about the drama of procedure--it isn't ever dry. There are some superbly mounted, loud, crowded big scenes--Simon is a great orchestrator of chaos --but there is an intensity to the quieter, more private moments as well. I wouldn't trade it for a bushel barrel of tortured detectives or all the kings and queens in Westeros.
  18. It's the first telling of a post-9/11 story that is all the things it should be: politically resonant, emotionally wrenching and plain old thrilling to watch.
  19. Everything glows. One hopes for a happy ending, of course, but what matters most is shape and color, the abstraction of rain on stone, the sun through the trees. It makes Samurai Jack endlessly rewatchable: Every picture tells a story.
  20. True Detective runs slow and steady without ever seeming to drag. Even minor characters get room to breathe, and seem independently alive; the briefest scenes seem to imply life beyond the frame.... The dance [Matthew McConaughey and Woody Harrelson] do together here is work of a very high order, and all the reason you need to watch.
  21. This is just the kind of amusingly off-center comedy now missing from NBC's lineup, one of those rare, delightful meshings of concept, cast and execution, with producer Tom Cherones providing inspired direction. Nothing is forced. [31 May 1990, p.F9]
    • Los Angeles Times
  22. It isn’t just great television, it’s vivid, thought-provoking television that entertains even as it examines the darker side of entertainment.
  23. Easily the the best, cleverest and nuttiest arrival of the 1989-90 season is The Simpsons...It's very small-scale, but perfectly conceived and executed. What we have here from creator Matt Groening is a rare confluence -- delightful writing, pictures and voices fitting like a Matisse. [12 Jan 1990, p.F1]
    • Los Angeles Times
  24. Smash is a triumph.
  25. Historically meticulous, thematically compelling and deeply human, O.J.: Made in America is a masterwork of scholarship, journalism and cinematic art.
  26. Many heads bend over this adaptation, each belonging to a master of his or her craft, and what emerges is a truly new, and miraculously accurate, definition of epic television.
  27. Downton Abbey, which premieres Sunday, is this generation's "Upstairs, Downstairs," both in theme--the daily dramas of a titled British family and their many servants--and in stature.
  28. A genius series the equal of ABC's "NYPD Blue" at its best, and one that delivers more boom for the buck than either NBC's admired crime tome "Boomtown" or the irritating coppers of FX's "The Shield."
  29. The globe's smartest, funniest, greatest comedy series. [19 Jul 1995]
    • Los Angeles Times
  30. Neither prequel, sequel or remake, this Fargo is instead a tonal accompaniment, a little more than kin, a little less than kind and a whole new breed of television.

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