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 O.J.: Made in America
Lowest review score: 0 Anchorwoman: Season 1
Score distribution:
  1. Mixed: 0 out of 815
  2. Negative: 0 out of 815
815 tv reviews
  1. 7 Days in Hell is as strange and splendid a bit of satire as you will ever find jampacked into 42 minutes of television.
  2. It is an homage and a celebration, with something of a high-class homemade feel.
  3. [Sontag's] personal magnetism is very much part of the story.... This alone makes for a highly watchable film, though Kates also dresses the screen with poetical visual interludes.
  4. As produced it is more like a trip to the zoo, with the scribes imported into a set that suggests a writers' room (white board, bulletin board, index cards, big table, coffee) as a lion cage might simulate the veld. Even so, it feels like a glimpse of the real thing. Rash makes an excellent host-moderator.
  5. There is little in the way of "action"--it is possibly the slowest, most deliberative show on television, which is one of the things that makes it so lovely and mysterious.
  6. Shows as thematically and tonally diverse as "Downton Abbey," "The Americans," "Mad Men" and "Madam Secretary" all rely heavily on the changing nature of women's roles in the 20th (and 21st) century to heighten the drama between characters and make larger points about the modern age. Being a product of Marvel and ABC, Agent Carter is, well, a lot more fun.
  7. Everyone pulls their weight; the jokes land lightly. Ferguson shows stuff that "Mad Men" never let him. Galvin is solid; Shively sweetly dim; Wood, behind thick spectacles, droll.
  8. As twisty and spellbinding as ever. [28 Oct 2002]
    • Los Angeles Times
  9. An endearingly weird and bent new ABC comedy.
  10. Elizabeth and Philip react with the appropriate amount of fear for and protectiveness of Paige and Henry. No doubt, this will further widen the cracks already forming in their political/professional resolve, but there is no going back: The Americans puts the kids front and center.
  11. The show can be, in odd passing moments, unexpectedly, almost nervily touching.
  12. It's smart without either condescending to or patronizing the viewer.
  13. Sweet, lyrical and a little cracked, it's worth seeking out.
  14. It's a bit of a mess, this first half hour, what with Sarah having a breakdown and quick jaunts to the Weimar Republic, but it gives Transparent more elbow room and the episodes that follow take full advantage. Though still heroic in her decision, Maura is more fully realized.
  15. Though you may note the myriad references in its many-chambered plot, it's just a house to live in finally--well-constructed, artfully furnished, with good feng shui.
  16. Creator Jon Bokenkamp matches up a deliciously absurd uber-story (20 years later, rogue spy turned freelance criminal comes in from the cold...) with the mother of all procedural shticks (and he's going to bring all his friends and enemies with him). But the ace in the hole is Spader.
  17. The Event seems prepared to make its characters as complex as its storyline, always an event worth attending.
  18. Tyler Labine makes a most excellent wacky bearded sidekick, and Rick Gonzalez and Valarie Rae Miller round out the Scooby Gang. Auteur of slackerdom Kevin Smith ("Clerks") directed the pilot, which maintains a nice fairy tale tone even as it stresses the banality of the infernal.
  19. The artfully composed images are both crystal clear and cinematically creamy.
  20. The dialogue is always to the point, yet it gives even the bit players enough room to create something memorable.
  21. A dark and strangely beautiful new sitcom.
  22. Throw in Wysocki's rookie niece, some intra-force rivalry, those great Chicago locations and a Polish sausage or two, and you have a show that breaks the network code, and that alone is worth watching.
  23. High School Musical 2 s zippier, bouncier, prettier, more soulful and even more musical than its predecessor, and that's saying something.
  24. This time around everyone, Byrne in particular, moves with an air of confidence that allows you to keep your eyes on the knives being juggled in the air rather than the person doing the juggling. Which is exactly where you want the audience's eyes to be when you're pulling off a con, or a show like Damages.
  25. A show that is visually poetic, normatively compelling and, most important, sustainable for a good long haul.
  26. It works because it's less about who we were then--it's a fantasy of who we were then, really--than about who we are now.
  27. With the aid of Jacobs' standout performance and just enough humor and insight, [Love] slowly lulls you into a state of theta-wave fascination.
  28. Its aspirations and its execution are perfectly in sync; there is no way that Meyers could overact, or, indeed, not act enough, that would not suit the material.
  29. His style of filmmaking--to obsessively explore his subject from as many points of entry as possible--is the cinematic definition of thought-provoking.
  30. The liveliest of the year's new sitcoms. It is low, broad and abrasive, but it moves fast and has some of the urban funkiness of the old "John Larroquette Show" -- the one set in a bus station -- and was indeed created by a veteran of that series, Will Gluck.

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