Los Angeles Times' Scores

For 1,306 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 Homeland: Season 2
Lowest review score: 0 Cavemen: Season 1
Score distribution:
  1. Mixed: 0 out of 691
  2. Negative: 0 out of 691
691 tv reviews
  1. 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.
  2. To my mind, it's the best series of the fall, and with the tonally similar "Top of the Lake," possibly of the year.
  3. 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.
  4. 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."
  5. Arguably the best reason to own a TV set.
  6. 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.
  7. [A] lovely, ruthless, masterfully restrained two-night, four-hour contemplation of love, marriage, parenthood, mental illness and identity.
  8. 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.
  9. "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.
  10. 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.
  11. 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
  12. 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
  13. The wittiest, smartest, sharpest-written, most original comedy of the season.
  14. 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.
  15. 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.
  16. 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
  17. 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
  18. Smash is a triumph.
  19. 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.
  20. 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.
  21. 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."
  22. The globe's smartest, funniest, greatest comedy series. [19 Jul 1995]
    • Los Angeles Times
  23. 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.
  24. Sunday's premiere delivers spectacular fun with great style edged in melancholy, its balance of breathless action and tenderness providing still more evidence of this fall's crop of new shows being the best in years. [29 Sept 2001, p.16]
    • Los Angeles Times
  25. "The Larry Sanders Show" opens its fifth season tonight by reminding viewers just how extraordinary it is, not only as one of the funniest, smartest comedies ever, but also in sometimes having celebrity guests depict themselves in ways almost as curious as stories on "The X-Files," the otherworldly Fox series that made [guest David] Duchovny famous.
  26. Twin Peaks teeters on the very edge of exquisite absurdity. Its genius is that it plays both on the level of subtly ludicrous melodrama and on the level of a baffling whodunit, as most lines of dialogue appear to contain a hidden meaning, most faces a dark secret.
  27. A striking six-week miniseries delivering one of the rawest, truest, most provocative and involving dramas ever beamed to Americans. And one of the most important, defining a seedy, destructive junkie subculture in vivid, aching detail in the tradition of such theatrical films as "Panic in Needle Park," "Drugstore Cowboy" and "Trainspotting." [14 Apr 2000, p.F1]
    • Los Angeles Times
  28. As did the six previous episodes, the new installments generate a tension so awful, from circumstances so awfully lifelike, that you have to watch at times from behind laced fingers, with teeth clenched and the remote control close at hand.
  29. If its premiere epitomizes what's ahead, Steven Bochco's intense legal drama Murder One will be the best new series of the fall season. Period. Case closed. Jury dismissed with thanks...With "Hill Street Blues," "L.A. Law" and "NYPD Blue" already heading his resume, Murder One is quintessential Bochco, a well-acted, smartly written, meticulously presented hour that turns the law inside out while telling a good story that makes you feel like you're spying on these people through a peephole. Created by Bochco, Charles H. Eglee and Channing Gibson, it has that irresistible thing that identifies a series as a creative success: You can't wait for it to return.
  30. It's high-pitched, unforgettable, knockout, electrifying TV...There should be a law requiring more series like NBC's new L.A. Law. [15 Sept 1986, p.C1]
    • Los Angeles Times

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