Los Angeles Times' Scores

For 1,358 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 Homeland: Season 1
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 721
  2. Negative: 0 out of 721
721 tv reviews
  1. Some of these women are troubled, certainly, but none of them seems like trouble. Indeed, I felt a little sad at times, watching--not as I usually do, for the society that could produce such a program, but for the actual women in it, as far as I could make them out.
  2. [Scott Baio's] naturally relaxed presence mitigates the show's more hectic leanings.
    • 45 Metascore
    • 60 Critic Score
    An uneven debut.
  3. "Carnivale" is beautiful to look at, but it drags. ... To watch "Carnivale" is to feel you have purchased a moody Tom Waits concept album, where he's banging on trash can lids and mumbling about Satan into a megaphone. [7 Jan 2005]
    • Los Angeles Times
  4. It's a premise that seems more appropriate to a mid-'90s theatrical romantic comedy -- something with Sandra Bullock or Meg Ryan -- than to a TV series, and indeed, given how much transpires in the pilot, you could bang an extra hour of complications and resolutions onto the end and have a spiffy little chick flick.
  5. Pope is a likeable woman, smart and sensible. Although the Difficult Boss is a common feature of Bravo series, by network standards she is egoless as the Buddha. Indeed, as a protector of the almost-born from the fuzzy thinking and distracted inattention of their parents, she is a bastion of perspective.
    • 75 Metascore
    • 60 Critic Score
    Only moderately enjoyable.
  6. Steinberg is a polite, solicitous host -- too polite and solicitous.
  7. Despite the frantic and at times clunky initial execution, there are times when The Mob Doctor shows signs of transcending the typical doc-with-something-extra medical procedural.
  8. It's just the same joke endlessly repeated--the everyday translated into geek-speak, and the obscure and difficult treated as if it were common knowledge.... These are perilous times for sitcoms, and Lorre & Co. may want to think up another.
  9. At times it feels enough that the players seem to be enjoying themselves to enjoy it alongside them.
  10. While the performances are first-rate, and the film is never less than enjoyable, it doesn't quite take off.
  11. Perfectly fine and nothing special.
  12. [Gilbert] seems like a real person, even in such a cartoon as this is.
  13. The sets are terrific, as are the costumes, and the rich and saturated moodiness of the production values makes the tepidness of the story all the more disappointing.
  14. The Comedians is a strangely mixed bag, which works or doesn't work from moment to moment and from mode to mode.
  15. 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.
  16. It's a noble goal and one hopes that after viewing School Pride, volunteers spring up, committees form and checks are written. Because to merely watch the show and wallow in its many throat-tightening moments would be to remain a voyeur, and then you're just part of the problem.
  17. There is a story to be made from this, about aspiration and achievement and what goes on in the gap between them, but that is not a story that television, or any other form of American mass culture, particularly likes to tell. Underemployed flirts with it but more often settles for flattering its audience, reflecting not only its hopes but also its resentments.
  18. "Threshold" is a comic book, and passable as such.
  19. 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.
  20. What Swank doesn't bring is any sort of emotional connection, either to Mary, Mary's son or the audience.... Mercifully, Blethyn eventually joins her on the screen and is, as ever, simple perfection, needing to do little more than utter two words with an anguished squint to break your heart into 50 million pieces. When the two meet up, Mary and Martha begins to transcend the drumbeat of its message.
  21. It is so far minor stuff, inconsistent in tone and not particularly original yet fundamentally sweet and, if not stared at too hard, appealing.
  22. If you can live through the ridiculous hustle-forward, no-looking introduction to the story, what follows is entertaining enough, albeit in a mildly campy way.
  23. In some ways, it is like a placebo, lacking substance, but not ineffective. In others, it is a kind of gaily packaged generic equivalent to some better-known brand.
  24. Unfortunately, without a more solid platform, even the greatest performance can go only so far. Oyelowo is mesmerizing in the moment, but each moment dies behind him.
  25. 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.
  26. 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.
  27. 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.
  28. This split-personality series that speaks with two voices: one thoughtful and intelligent, the louder one glib and derivative. [29 Sept 1999, p.F6]
    • Los Angeles Times

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