Los Angeles Times' Scores

For 1,331 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 3.4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 The Sopranos: Season 2
Lowest review score: 0 Full House: Season 1
Score distribution:
  1. Mixed: 0 out of 707
  2. Negative: 0 out of 707
707 tv reviews
  1. 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."
  2. 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.
  3. 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.
  4. The cast is good, the stories arresting and the characters compelling. ... "The Practice" is a good series stopped mostly by its predictability from being very, very good.
  5. It's not a perfect show--a romance blooms too early and easily between Amber and a counselor, the soundtrack is more present than it needs to be and some moments tip from poignant to overwrought. But the richness of the characters and the story make it easy to overlook the flaws.
  6. It was, on the whole, a very good show that emphasized performances.
  7. The plots are a little obvious--you can usually stay a jump or two ahead of the revelations--but the actors keep you well distracted.
  8. The Goode Family, which is nicely acted and well animated, works best when the cultural potshots give way to the more basic human needs of its characters.
  9. When it comes to the day's central oration, Akomfrah can't quite leave King alone, laying in music below him--not the usual sentimental suet, at least, but a distraction and a distortion nonetheless; those words need no accompaniment. And here and there he processes an image for dramatic (and sometimes confusing) effect. But these are bumps in an otherwise well-laid road.
  10. [Meyers] was shaky only fleetingly. He stuck his landings. He was cool, but clearly having fun.
  11. Just what they'll do with all this newfound mojo is hard to say, so packed is the pilot with varying sorts of business and attitudes, the soundtrack obligingly swinging from comic-bright to melancholy-minor, to action-bold. Developments late in the episode suggest that No Ordinary Family will look a lot more like "Heroes" than it will, say, "The Adventures of Superman," a course we have seen to be fraught with danger.
  12. That he is a difficult character is not lost on Maron, or the collective superego that runs his show. Other characters--the supporting performances are shaded and excellent throughout and help take the edges off--find him difficult as well; they stand in for the audience, criticizing him on its behalf.
  13. Scripted? No doubt. Do the men seem to go out of their way to discuss sex, bowel movements and other "provocative" topics? They do indeed. But they also treat their children with love and respect.
  14. The overall atmosphere of the film is surprisingly kind to all, much more fatalistic than hypercritical and certainly not derisive.
  15. What Vice offers is not deep or thorough, but it is not without value. The news comes in pieces now; to get the full picture, you have to assemble it yourself.
  16. Step by step, it's all very fascinating and as well-produced as television gets.
  17. It is, like much British comedy, unabashedly vulgar where its American cousins are relatively coy, an attitude that feels alternately trying and refreshingly healthy. You will recall that the Puritans brought their neuroses here. The kids, or rather the young adults playing the kids, are all very good.
  18. It is smartly written and well played.... This series is also going to be very much a matter of taste.
  19. "Robin Hood" boasts most of the usual problems with low-budget epics.... But the show has wit and energy.
  20. It is something shy of electrifying and not always convincing, but it pulls you right along and offers too many good moments and fine performances not to recommend it.
  21. Like "Hank," The Middle is no Next New Thing; indeed, both argue for the opposite, the pleasures of the known, of craft and of watching people who know what they're doing do it.
  22. The premiere has the wonderfully distinctive geekiness but not the toothy bite of "The Simpsons," which was something spectacular to behold from the moment Homer uttered his first "Dohhhhhh!" There are some nice bits of amusement here, however, and surely the potential for growth.
  23. Traffic Light, like that old Mustang you had in college, splutters more than a bit when you turn the key, but eventually it gets going. And once it does, the splendid refinishing of a classic makes the inevitable bumps much more easily endured.
  24. The series is in most respects a typical action-comedy. But it has a nice swing and surprises you often enough, usually with some throwaway line, to feel invigorating in the end.
  25. It's all elevated by looking really beautiful (though not -- and this is the crucial difference -- stylish). The pictures fill in the blanks, and even as Skins strains credibility, it achieves moments of poetry.
  26. It's difficult to begrudge the producers their poetry--on one level, the imagery begs for similarly breathtaking language. But in this case, less might well have been more; the narration works best when it is relaying information rather than describing a "sun-spangled yearning to move."
  27. The details of Cheney's fall from grace in the waning years of the Bush administration are fascinating and narratively satisfying.
  28. The characters are more affectionate than antagonistic. They are dim, but mostly not dumb, countering what we have come to expect from portrayals of the middle- or working-class people of Boston.
  29. I was often moved by the dedication and heart on display.
  30. The action is active, the suspense tense, the actors game. It seems a little silly at times, but meet it halfway and the hour passes painlessly.

Top Trailers