Los Angeles Times' Scores

For 1,289 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 3.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 The Larry Sanders Show: Season 4
Lowest review score: 0 Full House: Season 1
Score distribution:
  1. Mixed: 0 out of 680
  2. Negative: 0 out of 680
680 tv reviews
  1. The series is at its most convincing, and most beautiful, at its most static. When the show bursts into action, or insists upon making its characters intense and extraordinary--some of them fictionally take credit for real-world medical advances and inventions--it grows, paradoxically, proportionally less interesting.
  2. I recommend the series, though Sunday's opening film, "Sidetracked," does present a bit of a stumbling block.
  3. In most other respects, it is a standard three-camera sitcom, in which two bickering siblings in their mid-30s (Mitchell and Strahan) find themselves back living with their parents (Weathers and Pounder). Which is not to call it run-of-the-mill--it has some charm and personality and keeps its focus unusually tight on the four principals.
  4. It is often fun, even when it is not funny.
  5. The show's attitudinal mix of the jaded and amazed, the shocked and amused, is supported by the production itself.
  6. If the most overly praised TV dramas hit you over the head with their stiff coherence, Huff goes the other way, sketching in a world that is suggestively there but not quite, and swinging at big "Angels in America"-type themes more often than nailing them.
  7. Though each episode is entertaining, it's difficult to care what happens because nothing much seems to be at stake. Still, amid all the shattered and haunted leading men on TV today, Chuck is a refreshingly simple guy.
  8. It's in that "perhaps" and "possibly" that Ashes to Ashes finds a way forward, and although it's not as good as the original, it pushes many of the same buttons and sews on a few new ones. It's quite enjoyable.
  9. The comedy offsets (and benefits from) both Spader's innate creepiness and Shatner's innate hamminess, and it is where producer David E. Kelley's own talents lie.
  10. There's much here to suggest that, if everyone relaxes a little, good things will come.
  11. Without making any great claims for the show's depth, I do sense a desire behind the sensation and soap to investigate something significant, if deceptively simple: how life changes in a moment.
  12. At its best, it's a well-acted, surprisingly clear-eyed look at the inconsistent relationship between passion and enduring love, and the innovative ways in which people bend their own rules to accommodate their need for pleasure. At its worse, it's a morally and narratively contrived excuse to watch a very entitled Everyman navigate a world of rich but unhappy women, including his own wife and daughter.
  13. Even the most concocted bits play out in a relaxed way, as when a drummer lay back behind the beat, putting new life into an old tune, making the corn convincing, the familiar unpredictable.
  14. I rather enjoyed the pilot. Perhaps it's a Canadian thing, but like "Flashpoint," Rookie Blue doesn't oversell itself. It is modest and plain in a way that makes even its less likely moments feel credible enough.
  15. Made with ingenuity and verve, it substitutes the half-glimpsed and suggestive for the in-your-face and explicit, and concentrates more on the buildup than the payoff, the fear more than the fright.
  16. Pee-wee was always a boy-man, but Reubens is pushing 60; when he is flying through the air singing "I'm the luckiest boy in the world" the words "Sunset Boulevard" do come unfortunately to mind. Still, fans of Pee-wee will no doubt delight in a return to those strange and halcyon days before the Wiggles and Blues Clues took over the world, when Barney was still Fred Flintstone's sidekick and not a purple dinosaur and Pee-wee's multi-generational appeal was subversive and unique.
  17. There is something satisfying about watching difficult things performed well, especially when the point is to make it look easy, and especially when the performer is a person who might reasonably be expected to fail.
  18. As these things go, The Job is rather mild-mannered and amiable--everyone is on their best behavior, because there is no advantage in being nasty.
  19. As at the Friars, the humor gets low at times, but the characters themselves do not; which is not to say that they keep their dignity. The conversation is long on riffing and syntactically comical constructions.
  20. if you're the type of person who needs every little thing, or indeed any little thing, to make sense in a pilot, then you should probably watch Fringe in solitude, preferably with the door closed, so the rest of us can enjoy it for what it is--an uneven but promising jumble of horror, thriller and comedy that is not afraid to reference SpongeBob and "Altered States" in practically the same scene.
  21. The personal circus, while given much play, remains secondary to the cooking contest. And as usual, the crop of contestants is claimed to be the most talented yet, and they do seem well-credentialed (James Beard nominees, Michelin-star-winner), competitive and more than usually tattooed.
  22. It's an old-fashioned sort of show, working unapologetically toward wisdom rather than cleverness, attempting to depict its setting as neither romantic nor dismal, the local color rising as much from silence as words.
  23. As it is, some of the sharpness, the performance-art humor of the Web series is lost in translation, but even in the new form, it remains something remarkable, if not revolutionary, anchored by Kudrow, who is not so much inhabiting a character but an ethos--the self-help movement by way of Merrill Lynch and YouTube, with outtakes thrown in at the end for good measure.
  24. Whether [Carey] can stretch beyond his stand-up work and move to another level, as have such comics-turned-sitcom-stars as Jerry Seinfeld, Brett Butler and Roseanne, remains to be seen.
  25. Though it is not exactly in the spirit of the original, it should satisfy any "Boy" fans eager to see it.
  26. "Blade: The Series" is pretty good, really, as these things go.
  27. Hosted by plus-size supermodel Emme, More to Love adds an extra layer of pathos to the genre's usual Harlequin hearts and flowers, its candlelit rooms, poolside chats and painfully drawn out ritual eliminations.
  28. The best thing about Go On is, not surprisingly, Perry.
  29. This is a modest production that nevertheless generates a good bit of energy and benefits from sympathetic casting, decent dialogue and keeping things ambiguous.
    • Los Angeles Times
  30. All of which adds up to a pilot that is much more admirable in its intent than its execution, a better conversation-starter than episode.

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