Los Angeles Times' Scores

For 1,325 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 The Normal Heart
Lowest review score: 0 Anchorwoman: Season 1
Score distribution:
  1. Mixed: 0 out of 704
  2. Negative: 0 out of 704
704 tv reviews
  1. [Steven Tyler] may be all talk, the initial good cheer may wear thin and we may be begging to be slapped around by Cowell in a few weeks, but for now it's just nice to have judges who aren't learning how to be stars themselves. Which means that this year, maybe the show can be about finding a real American idol.
  2. New beginnings can be difficult; there are problems here, though they are not irremediable. By and large the show improves on its pilot.
    • 83 Metascore
    • 70 Critic Score
    It turns out, though, that these guys are funny...The whiteness of the group is more problematic. Racial and gay/straight stereotypes are the target of a monologue by Scott Thompson, portraying an effeminate gay character. The script intends to skewer those stereotypes, but the blunt language and the fact that the group is white may lead some observers to question whether the sketch doesn't reinforce them. [21 July 1989, p.C6]
    • Los Angeles Times
  3. Beautifully shot and marvelously acted, Caprica is infused with all manner of intriguing bits of business....After the two-hour pilot, available on DVD last year, early episodes move with an often creaky slowness that seems at odds with its spry and comely cast.
  4. Tender and sometimes humorously bent. Yes, some very nice moments in initial installments of its 13-episode commitment from HBO, but nothing shooting you to the moon. [1 June 2001, p.C1]
    • Los Angeles Times
  5. Without bringing anything radically new to the annals of sitcomedy, Louis-Dreyfus makes Christine feel fresh and real.
  6. I am not yet sold, but I will stick around a while to see what this future holds.
  7. The writing is decent, with flashes of sideways wit.
  8. A loud, believably unbelievable ghost story, a different ghost from classic lore guest-starring each week.
  9. It's all great fun, a feast of eye and mind candy into which a few shreds of leafy greens have been added for content.
  10. "Thought-provoking" is an overused term in criticism, and one that can camouflage many sins. But here, for better and worse, is the real deal.
  11. Director Coky Giedroyc leaves enough dramatic headroom that when forces draw together toward the end, with one last frontier to cross, he can deliver what feels like pulp-fiction thrills without getting loud or fancy.
  12. Demanding absolute sense or ironclad consistency from a show like this is like wanting a butterfly to fly a straighter line, not only pointless but somehow unnatural.
  13. Roth is a fine actor and a welcome presence on the small screen, and he manages to integrate a catalog of amazing facts into a character. But the show will be better for giving him more to do than bust liars, then explain how he did it.
  14. Though it does not seem to be entirely scripted, it is (as opposed to the rambling podcast) highly organized and includes invented guests alongside those appearing as not necessarily reliable versions of themselves.
  15. Though it never quite hits its stride, the show never pitches us into the abyss.
  16. Although the subject is epic, the approach is intimate, even informal.
  17. Little happens in the two episodes I've seen that could not be mathematically extrapolated from the premise.... yet it works pretty well. The actors are generally charming.
  18. While the series, which opens with a ship being boarded and taken, does have its moments of big, noisy action (see: Michael Bay, above), it spends a lot of time on land, as well, with the main characters taking care of business, making plans, laying traps and working on their surprisingly complicated personal relationships. There is also, tedious to relate, an abundance of female nudity.... Other than that, Black Sails' depiction of daily life among the pirates is plausibly authentic and workaday, and the Nassau through which they roam feels real and well-peopled.
  19. The Norwegians are the foreigners here, and Norway the foreign land. But that remoteness is part of the show's appeal.
  20. It's a sweet summer treat.
  21. Where "Comedy Bang! Bang!" is dust-dry, Bunk does its work with a kind of idiot enthusiasm.
  22. Love, maybe not. But there's much to like, starting with Romano himself.
  23. Unlike "Lost," which ended its first season twisted around itself with mystery and mythology, "Invasion" doesn't seem poised to madden you that way. Its ambition is smaller and more self-contained; weirdness will visit a town and change relationships among an extended, and messy, family.
  24. Speaks with a more authentic teen voice than other series in this genre, becoming an antidote for WB's "Dawson's Creek," whose articulate, sophisticated high schoolers are adults in youthful bodies...The downside is that situations and characters here are so overdrawn, little space remains for subtlety or nuance. [25 Sept 1999, p.F1]
    • Los Angeles Times
  25. Free Agents has its moments and fine performances--and also make one wonder about the long run.
  26. [USA Network's] shows are for the most part solidly constructed, but where holes exist or the structure is creaky, they are shored up by the charm of their always well-cast players. Two new series bowing this week and next exemplify the house style; both are impressive out of the gate.
  27. All in all, this is a dynamic, addictive rendition of a complicated novel that catches the spirit of Dickens' "roaring streets" where "the noisy and the eager, and the arrogant and the froward and the vain, fretted and chafed, and made their usual uproar."
  28. It doesn't matter, finally, what becomes of them, we watch less in suspense than in wonder: wonder at the cheek and gall of these characters; wondering how true any of it is; and wondering, most profitably, at the performances, the least of which are good and the best of which are good fun.
  29. Though filled with far more tender and often tear-jerking moments than actual laughs, the first hour of Parenthood seems a solid and steady enough vehicle for such a brilliant cast.

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