Los Angeles Times' Scores

For 1,206 reviews, this publication has graded:
  • 52% higher than the average critic
  • 4% same as the average critic
  • 44% 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 Wire: Season 2
Lowest review score: 0 Cavemen: Season 1
Score distribution:
  1. Mixed: 0 out of 630
  2. Negative: 0 out of 630
630 tv reviews
  1. Almost from the get-go there's far more galumphing than trotting going on, and not all of it done by prehistoric feet. Things pick up in the third episode and there are dodos in the fourth, but it's not enough, no, not nearly enough.
  2. There are more than a few problems here.
  3. Swingtown walks a fine line between being a period piece, down to the pudding cups, baseball shirts and snatches of the old "$10,000 Pyramid," and parody.
  4. Such a concept seem ripe with delicious possibility. The show, unfortunately, is not. Played out as a cop procedural, it has a predictable narrative structure that at times resembles nothing so much as a prison.
  5. Some of it is very enjoyable, some of it is silly but still enjoyable, some of it is too silly to be enjoyable, some of it is not silly enough to be enjoyable, and some of it is neither here nor there.
  6. Vampire fantasy, murder mystery, star-crossed love story, political satire, True Blood is all and none of the above. Not quite funny, not quite scary, not quite thought-provoking, the show's attempt to question the roots of prejudice is continually undermined by its own stereotyping.
  7. Camp Rock isn't particularly good, but it's good at what it does. The product may be "inauthentic," if such a thing is even possible, but the way it will connect with a lot of little girls and more than a few little boys is real enough.
  8. The play, and the production, might have been better served by rolling a few cameras into the theater, but I know that isn't how people like to do these things.
  9. Unfortunately, so smitten are the creators of John Adams with historical earnestness and pedigree they seem to have forgotten how to tell a good story.
  10. It's not all bad, but nothing in it argues that it needed to be made other than to give the people who made it something to do. It's a mediocre misfire in which the odd good parts beg for a better home.
  11. Television, like love, is a matter of chemistry, of which none is yet obvious between the leads here. Will it come? Trevor would tell you that you should know it in an instant, while Claire would reserve judgment; they're both right, of course, some of the time.
  12. The problem is that in the pilot and an early episode, the crimes are nowhere as compelling as the characters. For a show like "Castle" that dares to launch a more classic version into an already saturated and tarted-up market, the murders have to be as complicated and compelling as the push-me-pull-you glances between the main characters, and so far, they just aren't.
  13. While there's nothing particularly wrong with Do Not Disturb, neither is there anything so inspired as to make you leap to your feet, crying, "Yes! This is what television needs! More workplace comedies! More hotels!"
  14. The performances, in and of themselves, range from solid (King's) to inspired (Marshall's)....But taken together, there is both too much and too little going on.
  15. While its cynicism about suburbia is superficially novel, the show itself is quite old-fashioned if not old hat: lame dad, smart mom, cute child, knowing child, strange neighbor. Door here, door there, couch in the middle.
  16. If you are a fan of, say, "Little Britain" in Season 3, you will probably like "Little Britain USA." As for the uninitiated, well, I suppose it all comes down to a person's fondness for penis jokes.
  17. Survivors is torn between the desire to go big--it's the literal end of civilization--and small--how would an ordinary person react to the death of everyone he knows? Regrettably Survivors succeeds at neither, getting stuck instead in a blurry bog of middle ground.
  18. The Cleveland Show is neither sweet nor particularly funny, neither a family comedy nor a true satire.
  19. Given the dark flavor of Shaun Cassidy's adult TV creations and his own experiences within the music machine, Ruby feels surprisingly ordinary and uninformed, put together out of scraps from the old sitcom drawer.
  20. Crude stuff for a family newspaper, but despite the warm-and-fuzzy-celebrity cred that star Courteney Cox brings to it, some funny lines and good acting all around, Cougar Town is a crude show, built on jokes about oral sex and droopy breasts, a show in which words like "coochie" are used with regrettable abandon.
  21. There are legitimately chilling, funny and suspenseful moments in the early episodes of "Happy Town," but the many fine performances are battered to death by a welter of plot twists and cheesy revelations that come speeding out of the sky like those murderous crows in "The Birds."
  22. Between Sherri's grouchy father, adorable son and hapless ex, all the stereotypes seem to be running on full steam. It's a less-than-stellar debut, but a body set in motion will stay in motion unless acted upon by an outside force, and it's hard to imagine the outside force that's going to slow Sherri Shepherd down any time soon.
  23. I didn't find much of it funny, but on a kind of purely analytical level I can see how the jokes are supposed to work, and might well work on some.
  24. It is so far minor stuff, inconsistent in tone and not particularly original yet fundamentally sweet and, if not stared at too hard, appealing.
    • 69 Metascore
    • 50 Critic Score
    Work of Art, which isn't as much bad as merely dull. Bad we could love; dull just sends us wandering off to the fridge, where inner essence consists of leftover meat loaf.
  25. Though my tolerance for tear jerking in-your-face, feel-good makeover shows is comparatively limited, I don't want to come down too hard on Breakthrough, however much it commodifies misfortune or stage-manages reality.
  26. Sadly, these factors [Kevin Nealon, Catherine O'Hara and puppet animation] only amplify my disappointment in what, on the basis of one episode and a handful of clips, looks to be a weak and wheezy show.
  27. Ryan prompts the patrons to talk, but the stories don't really develop into much; and although the arms-buying demographic is indeed wider than one who has not spent much time in a gun store might imagine, their reasons for buying tend to be variations on the same few themes: I was robbed; I don't want to be robbed; guns are fun to collect and shoot.
  28. It's difficult to make cold-blooded and calculating people interesting and empathetic, and yet it must be done. Because fight scenes will take you only so far. Especially when there are no big dance numbers.
  29. Detroit 1-8-7 is, rather than a slice of life, very much a slab of TV. And yet, as currently constituted, the show's only way forward is through the unlikely Fitch; his emotional awkwardness is more interesting than the cases he works.

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