Los Angeles Times' Scores

For 1,527 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 Lady Dynamite: Season 1
Lowest review score: 0 Painkiller Jane: Season 1
Score distribution:
  1. Mixed: 0 out of 815
  2. Negative: 0 out of 815
815 tv reviews
  1. It's a work whose immense vitality and a persuasive naturalism overcome its occasional paroxysms of style or hammered-home points.
  2. By not belaboring the point--Ryan is not crazy, there is nothing supernatural afoot--the show stays fresh, the gimmick fades. The humor is frequently scatological or sexual, but a mitigating sweetness enfolds it all.
  3. The real miracle here is how deftly the show avoids the soggy cliches of redemption so many of its forerunners have embraced. [26 Sept 2003, p.E1]
    • Los Angeles Times
  4. There are no heroes or villains here, only people working out or being carried toward their individual destinies. And in who we root for and in what we root for them to choose, we also define ourselves.
  5. It knows the buttons it wants to push (fear of flying, fear of abandonment, fear of the unknown) and pushes them, repeatedly, like a kid playing a video game.
  6. It's too much to say that you can't go wrong with the fantastical or supernatural these days, but it's still a bet very much worth taking, and one that largely pays off here.
  7. You will find things still generally a mess come Sunday, but now there is at least the possibility of light.
  8. It's an intoxicating if precarious concoction, capable of exploding or imploding at any moment, which only adds to the fun.... She is able to keep words like "pathetic" and "deranged" at bay for the first hour through sheer force of will, but now that the concept has been established, the scripts will need to give her firmer footing and a little more room to move.
  9. For all the self-protective aggressiveness and passive aggressiveness on display, Idiotsitter is tender at its core and toward its characters.
  10. Some of this is schematic, to be sure, but it grows more organic as it goes along, helped by a strong cast.
  11. As madly tied to one another as they are, the Rayburns are, in the first few episodes, at least, a little hard to care about. Yet there is enough happening by the third episode that I will definitely watch the fourth, just to see what might or might not happen, what herrings might be red, and what surprises might be truly surprising.
  12. With Dice, he's allowing himself to be flawed and fearful in a way that his stand-up comedy never could. Clay has remade his career and his persona for the better, handling the complexities with ease, and it's genuinely funny. There is still the same obsession with sex and, particularly, male genitalia as metaphor, but in a context that makes it somehow less toxic, more pathetic--"poignant" might even be the word.
  13. The elegance of its production and mostly measured pace, though it may confound those who prefer the supernatural served fast and furious, keeps the drama persuasive.
  14. It is a smart, affable, mostly unpredictable ensemble comedy that reminds us that in the 500-channel universe, fine things can happen in unlikely places, as long as you are clever about budget, commit to a sensible number of episodes--in this case 10--write well and cast right, and that what matters ultimately to heaven is not the eminence of the venue but the quality of the work.
  15. It's a little movie that feels big, without being self-consciously cinematic.
  16. "The Wire's" Snoop would definitely not fit in. But this is the most impressive group of female characters ever assembled in a series, and it's not just window-dressing; each woman has a story and that story will be told.
  17. Hotel Babylon is willfully bright and sexy--like the Parker's décor, it updates a '70s sensibility--but also has a nice eye for detail, good minor characters and well-flowing dialogue.
  18. Though the season premiere delivers the power and pathos fans have come to expect, there is, in fact, a slight but still identifiable shift: Game of Thrones is, in more than a few moments, funny.
  19. The TV version preserves the form and excited tone of the podcast, with better production values and a bigger stage.
  20. "Curb" is a comedy of hostility, resentment, paranoia and obsessiveness. There are no feel-good moments, no life-brightening epiphanies, nothing, in fact, even vaguely resembling a resolution; things get as bad as you feared, and then the credits roll. [3 Jan 2004]
    • Los Angeles Times
  21. Unapologetically sleeker and more sentimental than any George Smiley tale, and streamlined to the point of simplicity when compared with the recent "London Spy," it is tense but linear, clearly framed to take full advantage of its stars' strengths and, it must be said, their cross-demographic fan base.
  22. Because it's fun to watch the rich and mighty stumble and scheme, which novelists as diverse as William Thackeray and Judith Krantz have long known. In the first two episodes at least, the quality of the acting and the writing brings depth to what could so easily be the fetid shallows of life issues of the rich and famous
  23. A picaresque, briskly written and quickly captivating series that is neither afraid nor ashamed of entertaining its audience.
  24. Fresh Off the Boat may not be exactly the series of Huang's dreams, or completely true to the life he has sold to show business, but it's a consistently funny and even important one, with some lovely, nuanced performances.
  25. Apart from a surfeit of split screen effects and some overbearing soundtrack selections, I have no quarrel with this series at all, and wore a lump in my throat through much of it.
  26. Goldberg may be letting idealism infringe on Alan here in a way that detracts from reality. Moreover, Alan's sophisticated sense of humor seems terribly refined for his age. In many other ways, however, "Brooklyn Bridge" rings acutely true, from the production's natural lighting to the charming interplay among its characters.
  27. The goings-on feel fresh in the way that kids at play make spy or space stories their own, even as they repeat what TV and the movies have taught them. This is just that with a budget, some deeper experience and the help of Jennifer Saunders, Rebecca Front, Dougray Scott and David Harewood, among interesting others.
  28. The Alzheimer’s Project is an ambitious, disturbing, emotionally fraught and carefully optimistic four-part documentary exploring virtually every angle of Alzheimer's disease that can be explored on television
  29. The series is a better-heeled, better-paced and, within the bounds of its own Portland-ish modesty, a more ambitious extension of the occasional videos that Armisen and Portland resident Brownstein have posted online over the past few years under the name ThunderAnt.
  30. Though sleeker and more graphically brutal than its ancestor, Roots remains a celebration of resistance through survival.

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