Los Angeles Times' Scores

For 1,658 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 Show Me a Hero
Lowest review score: 0 Anchorwoman: Season 1
Score distribution:
  1. Mixed: 0 out of 905
  2. Negative: 0 out of 905
905 tv reviews
  1. The show mines the long-standing tension between those who believe in fate and those who believe in control while holding all strains of outrageous behavior up for both mockery and scrutiny.
  2. [Writer/director/voice of Cleric] Steve Purcell's comic timing is splendid, as is his staging of the action scenes.
  3. The opening plot has some cracks, but none that can't be stepped over in an hour that is often transfixing and has you looking forward to the next episode. [9 Oct 1996, p.F1]
    • Los Angeles Times
  4. Modern Family is sharp, timely and fresh, complicated enough to be interesting but with a soft, sweet center because, and I'm speaking loudly so even cable channels can hear, there is nothing wrong with that.
  5. It’s one thing to put on a show that’s professional and lacking any glaring mistakes; it’s another to do so with visual inventiveness. Zadan, Meron and Leon have raised the bar by figuring out how to do the latter.
  6. "Harry Potter" meets "Gossip Girl" in "The Magicians," Syfy's new adaptation of a Lev Grossman trilogy, and it's a good match.... The Magicians holds its own by making the students a bit older and complicated.
  7. This air of familiarity notwithstanding, the pilot is splendidly rendered; effective in the expected ways in a way that makes you forget you expected them.
  8. It takes no time at all for the new team to establish its authority; the new "Who" feels at once traditional and fresh, and completely right.
  9. Looking doesn't make the mistake of arguing that gay men are just like straight women, or straight men, or gay women, or even each other. Instead it tells the story of three guys who are friends in a strangely wonderful and difficult time and what that looks like. To them.
  10. As in his 1994 "nine-inning" film "Baseball," the subject suits the director's deliberate, even poky pace, and the air of what might be called critical nostalgia that colors all his films. Jackie Robinson brings the old world to vivid life, but its messages are for today and any day.
  11. This one is smartly acted, crisply written and willing to address all manner of issues--marriage, betrayal, family economics, friendship, even the pitfalls of public domesticity--in gratifyingly complex ways.
  12. When Fellowes allows his characters to show that mettle and strength are not necessarily the prettiest things in the room, Downton transcends its soap bubbles and more than earns its histrionic plot twists.
    • 70 Metascore
    • 80 Critic Score
    The premiere is inordinately entertaining, and the follow-up episodes previewed equally so. [23 Jun 1994]
    • Los Angeles Times
  13. Ten minutes into the season premiere of Nip/Tuck and you have to wonder what those deeply disturbed plastic surgeons were doing wasting four seasons, and all that unexplored sexual tension, in Miami when they so clearly belong in Los Angeles.
  14. Even those who are normally allergic to capes and spandex are likely to be intrigued, particularly by Colter’s simmering performance. ... The supporting cast is equally enjoyable, particularly Alfre Woodard as Mariah Stokes, Cottonmouth’s cousin and a corrupt city councilwoman, and Simone Missick as Misty Knight, a streetwise detective and Luke’s would-be love interest.
    • 69 Metascore
    • 80 Critic Score
    That there are long passages without dialogue, or indeed without what we commonly call action, will surely put some viewers off--it will be the Rubicon they will or will not cross. But I am happy to bathe in its careful, bad-dreamy atmosphere, to go with its twisty flow.
  15. Wyle is funny and charming and dispenses just enough fascinating arcane knowledge to keep things semi-educational, the special effects are great, Newhart and Curtin are always great to see, the ubiquitous Davison ("Knight Rider") is obviously having a blast as Lazlo, and really, who doesn't like a good vampire story?
  16. Even at its most obvious or ungainly, it's never less than interesting, and it's certainly not shy of conviction; no C.K. fan with an Internet connection and $5 to spare will want to pass it by.
  17. 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.
  18. 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.
  19. Even when the cut comes fast, they stay elegant; the images all register. We cut into conversations in the middle, suggesting talk that has been going on awhile and might go on longer. Scenes show as much as they need to, and just a little more, without seeming interrupted.
  20. 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.
  21. 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.
  22. 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.
  23. 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."
  24. 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.
  25. 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.
  26. 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.
  27. As predictable, or artificial, as the show can seem, when you take stock of it--even in its dark themes and situations--it is vital and inviting, fundamentally true to its characters and hard to put down.

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