Los Angeles Times' Scores

For 1,277 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 3.7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Olive Kitteridge
Lowest review score: 0 Anchorwoman: Season 1
Score distribution:
  1. Mixed: 0 out of 672
  2. Negative: 0 out of 672
672 tv reviews
  1. Nothing about the pilot of "Teachers" is particularly eye- or ear-opening.
  2. It's a decent enough show, a soap opera essentially, playing around with heavy themes and life-changing events but lightweight enough not to make you think too hard or keep you glued to the television when you decide you want something from the refrigerator — the TV equivalent of a beach book.
  3. Like "Martha," in which she is required to appear interested in celebrities and to whip up the crowd, "The Apprentice" is not a perfect fit.
  4. Hewitt is quite good, or as good as the show allows; there are some potholes along the way, as the script sacrifices sense to sentiment.
  5. Although there is nothing compelling... ["Out Of Practice" is a] professional job and not hard to watch.
  6. Neither a disaster nor a triumph.
  7. "Human Trafficking" is at once a sobering, tough-to-watch dramatization about girls taken from the streets of their hometowns around the world and sold into sexual servitude and a clichéd drama about said topic.
  8. Given that it wants to seem edgy and quirky, "Saved" is remarkably rich in cliché... Still, it's no worse than average and has Tom Everett Scott in it, which is a nice thing for TV viewers.
  9. The show, in its way, is too slight to be totally fulfilling, tending to collapse into slapstick, but it can get by on moments.
  10. The pilot has a "Steel Magnolias" feel to it: Too many stars, too many faces, too many names, a cornucopia of character business.
  11. You begin to feel strung along on an errand whose complexities can't mask the fact that the main character isn't great company.
  12. If "The Class" feels calculated, unrelated to life outside sitcoms, and encased in amber, it's a competent American product, ultimately, no harder to watch than, say, a Dodge is to drive.
  13. Here it feels as if Sorkin has chosen an outdated media milieu for his secular humanist dramaturgy. His first TV series, "Sports Night," was ahead of the times, but "Studio 60" is behind them.
  14. I, the Jury, am still out on this one; it could go either way from here.
  15. It was [creators Burnett and Beckerman's] style on "Ed" to be too cutesy by half, and so here
  16. The film as a whole is a strange case of mostly excellent parts that make an overlong and tedious whole.
  17. It's a somber, often leaden affair, beset with stiff dialogue.
  18. The trouble with Feresten isn't his comedy; it's his difficulty creating any intimacy with the audience or the camera. He's got the irony down cold but the empathy not so much.
  19. 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.
  20. There are more than a few problems here.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. 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.
  29. 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.
  30. 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.

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