Los Angeles Times' Scores

For 1,322 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 Sopranos: Season 2
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 702
  2. Negative: 0 out of 702
702 tv reviews
  1. Notwithstanding the novelty of the setting, the nice Latin music and good individual work by the cast--Walker is especially notable in a role made to notice--Smits is the engine that drives the ship; he gives Cane at least an illusion of speed and substance and soul.
  2. An expectation of failure is built into the comedy, so that at times the contestants are funny only in the attempt to be funny. At other times, given the circumstances, it may seem miraculous that they can be funny at all.
  3. Every pilot is burdened with establishing character, jump-starting the narrative and hooking the audience, but Under the Dome unnecessarily force-feeds us its first hour to its own detriment.... Which isn't to say Under the Dome won't wind up being fun to watch. All of the performances seem promising.
  4. Even just a half hour in, it's difficult not to wish everyone would just lighten the heck up. The graphic novel noir feel is becoming increasingly oppressive, and everyone is just so grim.
  5. Still, for all the unlikely things the Gaytons make happen in order to get their characters into place, and the dogged refusal of a couple of those characters to become interesting at all, the show gathers steam as it goes on.
  6. As with most things Wolf, it is superbly cast, almost too well... But every small role is well cast too -- the judges, the defendants, the policemen. They help create a lively world that's more believable than it sometimes deserves to be, and it is almost always engaging.
  7. State of Mind is the weaker (and the more strenuous and sour) of the two [new shows on Lifetime], and all the more disappointing for the presence of the reliably interesting Taylor.
  8. It's an amiable show whose main purpose is to give Prinze a place to be amiable in, and it does that well enough, when it isn't straining for laughs or wandering too far from the path of probability.
  9. As comedy it's hit-and-miss; what sells the show are the in-between things, the nonsense sibling spats between Dennis and Dee, the way Charlie's voice rises as his anxiety level does, the loose play of the banter. But if giving DeVito a prominent role will up the attendance, it doesn't immediately up the comedy. [28 Jun 2006]
    • Los Angeles Times
  10. "Murphy Brown" doesn't exactly sizzle in its debut. ... It is a show you'd like to see again, however, which is more than you can say for much of the TV genre it caricatures.
  11. The show starts out annoying and then gets less annoying. ... I don't have great hopes for this, but I had expected it to burn the eyes from my head, and that is not at all the case.
  12. Much of "Drive" is unabashedly derivative.... Much of it is also unbelievable... But two episodes in, it doesn't really matter.
  13. Pretty Little Liars is one of those shows that manages to mildly, and perhaps unintentionally, spoof its genre while fully participating in it, and that's not a bad thing at all.
  14. In terms of pure, element-defying excitement, the show is no match for "Survivor," which took the cutthroat ethos of corporate America and stripped it down to its basest, most primal essence.
  15. This Napoleon Dynamite is all go, go, go, racing, if nothing else, to keep pace with the host of other animated prime-time shows it joins.
  16. It's funny in its own way, smarter than most TV comedies and has a terrific cast -- all of which makes me wonder why I'm not more moved by it.
  17. It has its good points and its less good points, but there's enough of the former to merit a look.
  18. Too Big to Fail is pretty consistent low-key entertainment if not exactly enlightening (because it is an impersonation of the truth) or gripping (because we already know how it sort of ends).
  19. It feels as if you've happened across a British sitcom or a rerun of "MADtv."
  20. The Tudors remains lush and bejeweled, so much so that at times one fears it will simply collapse under its own weight, and, you know, we still have a few wives to go.
  21. This is news that never quite rises to the level of an event: "David Mamet Came to Television and All We Got Was a Better 'E-Ring.' "
  22. This is one of those broadly played comedies that needs reining in and writing sharper than having Ritter play super dad in what, essentially, is a single-parent comedy.
  23. If it plays havoc with the realities of medical practice, well, so did "House." And to glamorize, sanitize and romanticize illness is, after all, an old Hollywood tradition; and this is a show with a target audience for whom even death, in soft enough focus, can constitute a sort of wish fulfillment.
  24. After watching two episodes, I was left with the thought with which I began: An iconic apartment building full of wacky characters would make a great TV show. Would, though. Not does.
  25. A pretty good new series.
  26. Although the pilot feels somewhat made-to-order and its characters are schematically arrayed - press materials describe them as "the everyday couple" (Kyle Bornheimer and Christine Woods), "the high-passion couple" (David Walton and Mary Elizabeth Ellis) and "the couple that strives to be perfect" (Hayes MacArthur and Olivia Munn)--subsequent episodes grow looser and more natural, even as they get stranger.
  27. In theory, Southland could turn out to be a rich and textured cross between, say, "Hill Street Blues" and "Crash" with a little "Training Day" on the side, but the pilot, for all its horrific crimes and grimy street scenes, is strangely bland.
  28. It is buried in whimsicality and paeans to "feeling" and leaping into the void. And the stars do feel out of sync. (Williams is more comfortable riffing with James Wolk--"Mad Men's" Bob Benson--as... some other guy who works there.) We will give it some time.
  29. This is only an average situation comedy, but even the great ones have worn that makeup.
  30. While much of it is silly, corny or clichéd and relies more on easy effects — the power ballad, the overwrought sex scene — than on the subtle explorations of people and place that the pilot seems to promise, the series is, on the whole, highly digestible summer fun.

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