Los Angeles Times' Scores

For 1,287 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 3.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Game of Thrones: Season 2
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 679
  2. Negative: 0 out of 679
679 tv reviews
  1. This may not be as touching as "Every time a bell rings, an angel gets his wings," or "God bless us every one," and it may resonate much more with the parents than the kids, but for a Christmas special about an ogre who may have overstayed his 15 minutes, it's actually not too bad.
  2. I can't say I found much of Workaholics especially funny, but neither do I have it in my heart to hate it. On a craft level, it's very nicely made, the actors are weirdly appealing, and its spirit is not mean, but sweet.
  3. I like what I've seen, though there are more than a couple of moments where the only possible reaction is "Naaah."
  4. The series is not so different from, or significantly worse--or better--than the network's other two season premieres, "Melrose Place" and "The Vampire Diaries," which also affix stock characters, played mostly by good-looking young folk, to standard plot lines sexed up with pop songs and different flavors of visual glamour. Because they do not aim particularly high, they pretty much hit what they aim at.
  5. In spite of some talented actors, it all seems more scripted than lived, referring not the world but a world of things you've seen on TV, handled well enough to make Mercy passable, but never exceptional, television.
  6. Though it is flat and obvious at times, and some might call it ill-paced--I think of it as leisurely--it is only a little sanctimonious and not at all stuffed.
  7. Moderate achievement. [6 Oct 2000, p.F1]
    • Los Angeles Times
  8. Their [Gethard and Parnell] interplay, once things get moving, is appealing, if not quite compelling, but what sold me on the pilot was the moment when 14-year-old Dylan Blue, as Gethard's beyond-the-law kid brother, revealed his dark side, and his gun; I was a little frightened.
  9. Sometimes "John From Cincinnati" is a muddle, at other times rich drama and divine comedy. And sometimes it's all of that at once.
  10. Feels like an indie feature idea crammed into a sitcom.
  11. Much about the pilot felt flat or programmatic to me, but much was likable as well, especially the nonchalant tenderness between the male leads. And the cast is good.
  12. It may be seen as a kinder, gentler, funnier cousin to Fox's bitter " 'Til Death."
  13. It was an encouraging start.
  14. Although overblown in message and action, The Bridge is well-performed and worth watching if only to see if it will stand by its thesis: that real change comes from people working together.
  15. The first lines of this new chapter were promising, if not quite the fulfillment of his last wild nights at NBC, when caution was thrown to the wind.
  16. Yet if the pilot is generic and wan, it is at least sweet-tempered and not completely offensive (though this is somewhat at odds with its cinematic heritage).
  17. It is technically proficient--that is, the jokes consistently work, even when they don't add up to much--and its problems may not be unsolvable, if anyone even considers them problems in the first place.
  18. Lacking the subtext, satire and snappy talk that made "Buffy" golden, Demons (on the evidence of its first two episodes) has little on its mind past raising spooks and smiting them, but it does a fair enough job of that.
  19. For all its flaws, there's something attractively amiable about Harry's Law. A little more grit, a little less speechifying, and a better verdict might yet arrive.
  20. Skidding through twists and turns aplenty, the intentionally soapy plot generates a lot of fun froth, but Gellar has a hard time playing one troubled and complicated woman, much less two.
  21. It's pleasant enough, but unremarkable. Although from the same production team, it doesn't approach the warmth, tenderness, charm and seamlessness of the 1997 film.
  22. It's a decent but not brilliant beginning.
  23. The Gates, on the other hand, starts off with an even greater number of well-worn characters and storylines, but writers Richard Hatem and Grant Scharbo infuse them with a lot more life and a surprisingly high incidence of poignancy.
  24. Zwick and Herskovitz do capture the sweet self-absorption of youth--love is never truer, dreams never dearer and life never as complicated as it is when you are 24--it's just that it all feels so familiar when we were so hoping for something new and exciting.
  25. New York also offers the gift of its locations, which are used abundantly and give the show a sense of reality its script does not always earn. (The actors take up the rest of the slack.)
  26. It totes a few smiles, but little to bowl you over, and it takes a spell getting used to.
  27. The result is a show that tilts toward the familiar except for the man in the middle of it. Rapaport... is a fresh choice as a man-boy whose wife and kids dance circles around him.
  28. Crimson Petal could lose an hour without sacrificing a single scene or word of dialogue, and it would still seem slow and moody.
  29. There are many fine moments in 'Klondike,' cinematic scenes of grandeur and dialogue that rise to poetry. But too often both then fall prey to self-conscious staginess, many repetitive scenes of dirt and endless conversations about the animal nature of man.
  30. But even at 10 hours, Carrier feels cursory and incomplete. That's not to say that at most any given moment it's uninteresting--it's quite watchable--just that it doesn't add up to as much as it should.

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