Los Angeles Times' Scores

For 1,240 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 3.4 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 Cavemen: Season 1
Score distribution:
  1. Mixed: 0 out of 648
  2. Negative: 0 out of 648
648 tv reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. There's actually no reason this couldn't be a perfectly fine legal procedural, except there's no indication that anyone is attempting to make it one. The script is strictly writing by numbers.
  6. It tries very hard not to take the expected path. Too hard, unfortunately. So determined are Hunt, executive producer/showrunner Jenny Bicks and Linney that The Big C be unsentimental that they jam early episodes with so many over-blown characters and wacky antics that it's impossible to attach meaning to any of them.
  7. 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.
  8. It's clear that Wells has nothing but respect for the original material; if only he felt the same for American viewers. Unfortunately, [executive producer John Wells] seems to have bought into the notion that Americans need everything to be bigger, louder, messier and drawn in primary colors.
  9. In attempting to be both sprawling and intimate, The Kennedys winds up in a narrative no-man's land.
  10. As an attempt to tell the truth about an attempt to tell the truth about the state of domestic relations in a time of changing values, Cinema Verite fails--it cannot help but fail--as anything but a platform for some interesting performances and a few explicitly, loudly and briefly argued ideas about where one should draw the line when you point a camera into innocent people's lives.
  11. Once known, this fact [the series is based on the lives its creators] lends to the project an authenticity that might not otherwise be apparent, so steeped is it in the rhythms and conventions of the 20th century sitcom.
  12. As if afraid they will be accused of not taking things seriously enough, the creators walk through much of the pilot as if through a minefield, which is to say ver-ry slowly and ver-ry carefully. Not the best pacing considering the subject matter.
  13. As is often the case with melodrama, I find Revenge essentially unconvincing and also quite likable.
  14. Hart of Dixie is a stack of familiar scenarios stitched together to form a pretty if not terribly substantial quilt, of the sort Zoe encounters in Bluebell.
  15. Certainly Olbermann is refreshing, and singular, in the clarity of his mission, which is to defend the liberal point of view with the same sort of take-no-prisoners rhetoric that conservative pundits like Bill O'Reilly have wielded so effectively. But the blatant uber-medianess of his persona seems, at times, in direct conflict with that belief that "the weakest citizen is more important than the strongest corporation."
  16. Everything is presented far too briefly. For all her geographic ambition, Alexandra Pelosi winds up conducting an exit poll rather than telling a real story.
  17. The film aims for a dry authenticity that only fractionally reflects the big, wild volume on which it's based, cutting away nearly all of its poetry and most of its madness.
  18. We get a glimpse of some intriguing characters that we don't, however, quite come to know--not in the episodes I've seen, anyway--because we are being pelted the whole time with exposition and explanation. We're rarely allowed just to look or listen in or to think for ourselves.
  19. At something more than five hours, Prohibition, while interesting from moment to moment, is longer than it needs to be, and made even longer by Burns' habitual stateliness.
  20. Despite the strength of its parts, the whole feels very nascent and shaky.
  21. The pilot is a minor thing but not an unpleasant one, once you get past the opening salvo of pubic-hair jokes.
  22. What viewers are left with, then, are some excellent fight and chase scenes, an outstanding supporting cast (who, alas, only highlight the main character's deficiencies) and a lot of truly beautiful location work. It may be enough, but it could, and should, have been so much more.
  23. If for the most part this Treasure Island does not shiver my timbers, at a running time of three hours (four with ads), some things are bound to work, if only by the law of averages.
  24. Rays of charm do break through the haze of the ordinary and obvious, even if just for a line or a line reading.
  25. Though it is clearly based on research, with dialogue that scavenges the principals' own writing--it is never quite believable, either as history or drama.
  26. It is not a train wreck; it's just a train--chugging along from A to B, carrying the people, delivering the freight.
  27. The deal you make with a series like this is, if it doesn't ask too much of you, you won't ask too much of it.

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