Los Angeles Times' Scores

For 1,430 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. I've watched the pilot possibly too many times not to notice how the parts have been glued together and the jokes teed up, but the performances are good.
  2. America's Next Great Restaurant doesn't have the drama of a Gordon Ramsay show, but it does have a behind-the-scenes factor that is fresh enough--who knew coming up with a logo was so hard?--and the subject matter has universal appeal.
    • 60 Metascore
    • 70 Critic Score
    If you're not expecting the motion picture, Fast Times is rather pleasant. Not as wacky as "Square Pegs," the underappreciated 1982 CBS comedy that also focused on high school students and their teachers, it is no less appealing, boasting an attractive, engaging cast and a warm, gentle sense of humor. (And the high-energy, animated title sequence, featuring a theme song by Oingo Boingo, is dynamite.) [5 Mar 1986, p.C-10]
    • Los Angeles Times
  3. As schematic and derivative as it is, as invested in piling on the feel-good moments past the point even of suspended disbelief, there is something quite likable about Made in Jersey.
  4. It's hardly a new story... But ... 'The Following' is tricked out with enough narrative and casting bling to warrant the huge push Fox has given it.
  5. The personal business is interesting enough, if here and there inexplicable--like life, I hear you sigh--and does help make sense of why the characters act so needy around the office. But what Southland does best is to portray police work as a job--boring, trying, exciting by turns.
  6. You can either let this annoy you, or you can try to work out the meaning, or you can just enjoy the flow in a noncommittal way that does not preclude your being stimulated, shocked or held in suspense--like a fun-house ride. I am of the third disposition, and have also been of the first.
  7. Potts has some nice moments. Even an actress as able as she, though, ultimately buckles under the tonnage of this character's supremacy, and strong supporting work from Greg Serano, Tamala Jones and Vicellous Reon Shannon as the students she takes under her wing is not enough to shore her up. [30 Sept 1996, p.F10]
    • Los Angeles Times
  8. As drama, it's uneven, often cliched, even silly, but, like the store in which it's set--and whose ground floor, mezzanine and facade have been splendidly re-created--so variously stocked that you will likely find something here to take home.
  9. All of which adds up to a nice, moody, entertaining-enough hour and the troublesome question of how interesting this will be by the third episode.
  10. Lucas could spend the rest of his life filling that hiatus with adventures whose outcomes are basically irrelevant to the larger story he has already finished telling. Many battles make up a war, after all, and each is an episode waiting to be animated. The two I've seen are bagatelles--brief and insubstantial but colorful and fluid.
    • 75 Metascore
    • 60 Critic Score
    Despite very likable characters, deft acting and the psychological twist, the rest of Monk appears to be pretty standard issue. [12 July 2002, p.34]
    • Los Angeles Times
  11. Although it's suspenseful, and Gedrick performs ably in the role that Johnny Depp played on the big screen, this latest series about an FBI agent's perilous double life isn't even in the same galaxy as "The Sopranos."
  12. "Free Ride" is a bit more than passably good, but like "Arrested [Development]" it feels hard to love.
  13. Created by Dan Fogelman it is enjoyable if not impressive--not bad, and almost good.
  14. Everything in the pilot, written by executive producer Claudia Lonow, is a hair or three too strenuous; Billie has been knocked down to a few easy-to-grasp impulses, and almost all the other roles are filled by stereotypes--Jensen's most wastefully--in stereotypical relationships. Nevertheless, the premise is full of interesting possibilities about love and age and unconventional parenting.
  15. Much of it feels dreadfully slow, not so much moody as stretched for time....Things do pick up significantly with the arrival of Christopher Heyerdahl as John Druitt.
  16. The show's shifts in tone can seem ungainly; the comedy, of which there is more than usual in such shows, sometimes rubs uncomfortably against the premise.... Yet the show is best when it's funniest.
  17. It's an uneven show that lacks the finely crafted eccentricity of a "Northern Exposure" and "Twin Peaks" or "Picket Fences" (other strange-small-town shows featuring police officers), but when I say "uneven," I do mean that sometimes it's good.
  18. The crimes of the first four episodes revel in plot twists and medical conditions so ludicrous that they eventually become endearing, as does, against all odds, McCormack's performance.
  19. It does get a little pretentious at times, especially during the opening and closing narrations, but its pretensions are very much comic-book pretensions, and therefore allowable in what is, fundamentally, a comic book.
  20. The series keeps generally on the right side of things by virtue of the excellence and exuberance of the performances, which add flesh where needed; by moving fast enough to keep ahead of your second thoughts; and by spreading the ridiculousness around.
  21. World Without End is, to use a Python word, silly much of the time. But in a piece this big and busy, individual elements can stand out as enjoyable even when the whole is less than the sum of those parts.
  22. Their TV show, which might make the band more famous than its music, is lightweight, sometimes flat and sometimes embarrassing, with none of the deadpan brilliance of "Flight of the Conchords" or the sophisticated sitcomedy of the late “The Chris Isaak Show.”
  23. A cleverly conceived, at times visually lovely, but criminally long imagining of how Peter became Pan.
  24. American Horror Story is a big ol' brooding, baffling, ridiculous and occasionally compelling mess of a show.
  25. Old-chestnut premise notwithstanding, the show wants to be modern, and the humor occasionally pushes further than one might expect from a family comedy.
  26. 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.
  27. 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.
  28. 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.

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