Los Angeles Times' Scores

For 1,533 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 Homeland: Season 1
Lowest review score: 0 America's Funniest Home Videos: Season 1
Score distribution:
  1. Mixed: 0 out of 818
  2. Negative: 0 out of 818
818 tv reviews
  1. This Sense and Sensibility is truer not only to Austen's narrative, it more successfully captures the quiet precision of her singular mind--she was the master of finding poetry in domestic detail, and for that, the small screen is much better suited than the large.
  2. Not only does The Golden Girls offer meaningful portrayals of women in their post-middle-age years, but, as a bonus, it's one of those TV rarities, a comedy that's funny. Very funny. [13 Sept 1985, p.C1]
    • Los Angeles Times
  3. Terrific acting, crackling dialogue and geek-hip crime are not the only things that make this the most electric drama to premiere this fall.
  4. [A] rip-roaring, hilarious half-hour show... It ranks with HBO's "The Larry Sanders Show" as the creamy class of the new season's comedy series.
  5. There are only three patients this time around, and their stories, written by executive producers Anya Epstein and Dan Futterman, offer a thematic cohesion that seems richer, though perhaps more familiar. More important, the show remains a rare and wonderful opportunity to watch fine actors work their way through excellent material, earning it consistent praise and HBO's commitment, despite low ratings.
  6. "Weeds" is odder, darker and more suspenseful than ever.
  7. For those Americans who have fallen through some wormhole and have never seen "Law & Order," the British version is as good a place to start as any--Walsh, Bamber and Agyeman in particular deliver fine performances. And those put off by the new "Law & Order: Los Angeles" or just jonesing for the good old days, will no doubt find a trip to London positively...brilliant.
  8. For all its willful outrageousness, Arrested Development is sort of gripping -- a continuing story that one actually wants to see continue, which is more than can be said of most of the new dramas the season produced. [31 Oct 2003, p.E1]
    • Los Angeles Times
  9. Real talk shows should be as acutely funny.
  10. Becoming Chaz is undoubtedly one of the most thought-provoking films you will see on any screen this year, a frankly chronicled tale of Chaz's life as a transgender man that opens a more than occasionally mind-blowing conversation about the essentials of gender, and subsequently, sexuality.
  11. A dozen characters, played by the inevitably glorious assortment of British actors, crisscross in an astonishingly fluid game of cat's cradle, bringing this small town miraculously to life but never straying too far, or too absurdly, from the narrative through line.
  12. Parade's End must be taken on its own terms, because it is offering something rare and provocative: a poetically precise consideration of what it means to be caught out of time, clinging to the lip of one era or reaching desperately for a foothold in the other.
  13. The humor has as much to do with the form as the content, and much care and cleverness have been devoted to making these pieces look right, from film stock and lighting, to period graphics, to furniture and clothing; the art direction is exceptional, and as such, delightful throughout.
  14. By rooting Top of the Lake in the real, Campion gives her more fanciful inspirations legs, and the mystery--which is, needless to say, not merely or even mostly the mystery of a missing girl--room to breathe. I have no idea where any of it's headed. But I am going along.
  15. The domestic version... is every bit as good as the original.
  16. With Treme (which refers to a New Orleans neighborhood and is pronounced treh-MAY), Simon, co-creator Eric Overmyer and their team of writers (including the late, great David Mills) have proved that television as an art form cannot only rival Dickens, it can hold its own against Wagner.
  17. The thing about "The Sopranos" is that strands of character detail -- Carmela Soprano's fingernails, the way Tony breathes through his nose when he eats -- stay with you long after you've forgotten whose cut of a garbage route has precipitated a beef between which wiseguys.
  18. What is remarkable about "Life Support" is how it avoids every pitfall of the standard issue-based TV film and, indeed, of most TV films, period.
  19. The performances are so wonderful it feels wrong to single any out. But Whishaw finds great power in stillness; Hiddleston fits himself admirably to his character's stages and turns of mind, resolving his coldness with his warmth, his cruelty with his generosity. And there is Beale's Falstaff--marvelously poignant, a scoundrel-hero, getting everything wrong. His sorrow at losing the transformed Hal is as tragic a moment as any here, his fall no less thunderous than Richard's.
  20. This may be the better work [than "No Direction Home"], for its depth of feeling and its relatively more forthcoming and knowable subject.
  21. At once more modest and more ambitious than its predecessor; more focused on detail and yet more expansive. It is also excruciatingly funny, with an emphasis on excruciating.
  22. Although the humor begins broadly, it grows on you as you adjust to its rhythms, and ultimately you hear yourself laughing out loud. This is easily NBC's best new series. It's also one of those distinctive comedies in which everything meshes. [2 Oct 2001, p.C2]
    • Los Angeles Times
  23. As much as I love what Lewis and Patinkin—as well as Baccarin and Saylor—do here, Danes is what makes Homeland remarkable.
  24. As always, the acting is so artfully straight-faced and the scripts so full of in-the-know nuance that "The Larry Sanders Show" seems to reek of behind-the-scenes television reality.
    • 80 Metascore
    • 90 Critic Score
    The cast is fine and Steve Miner directs with sensitivity. There's real poignancy in the last scene between Savage and McKellar. It's a refreshingly gutsy half-hour, a look back at how things were -- and weren't. [31 Jan 1988, p.C-13]
    • Los Angeles Times
  25. Whatever feels discordant is eventually lost in the grace of the performances, the elegance of the production and the liberally distributed suspense.
  26. Deadwood is engrossing, refreshingly well written and oddly relevant. [15 Mar 2004, p.E1]
    • Los Angeles Times
  27. It is the best new show of the fall. It's a rapturous mix of absurdly fairy-tale-romance and frantic modern complications, set in the picturesque drear of Yorkshire and brought to life by masterfully shaded performances.
  28. Notwithstanding a certain stylistic chilliness and my sense of it having been pitched on the back of "Inception," it promised to be one of the year's best and most interesting new series. Having seen four episodes now, I'd say the promise has been largely kept.
  29. It's a terrific idea lyrically written and perfectly cast.

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