Los Angeles Times' Scores

For 1,431 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 3.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Twin Peaks: Season 1
Lowest review score: 0 Painkiller Jane: Season 1
Score distribution:
  1. Mixed: 0 out of 758
  2. Negative: 0 out of 758
758 tv reviews
  1. "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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. Though it never quite hits its stride, the show never pitches us into the abyss.
  7. Although the subject is epic, the approach is intimate, even informal.
  8. 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.
  9. 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.
  10. The Norwegians are the foreigners here, and Norway the foreign land. But that remoteness is part of the show's appeal.
  11. It's a sweet summer treat.
  12. Where "Comedy Bang! Bang!" is dust-dry, Bunk does its work with a kind of idiot enthusiasm.
  13. Love, maybe not. But there's much to like, starting with Romano himself.
  14. It's an efficient if mass-produced engine--every week a different race against crime and time--made a bit more interesting by the most dangerous game gone digital.... But it's the chemistry between Cassandra and Kane that ignites The Player.
  15. 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.
  16. 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
  17. Free Agents has its moments and fine performances--and also make one wonder about the long run.
  18. [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.
  19. 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."
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. It was, on the whole, a very good show that emphasized performances.
  25. 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.
  26. 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.
  27. 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.
  28. [Meyers] was shaky only fleetingly. He stuck his landings. He was cool, but clearly having fun.
  29. 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.
  30. 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.

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