Los Angeles Times' Scores

For 1,215 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 The Sopranos: Season 3
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Mixed: 0 out of 633
  2. Negative: 0 out of 633
633 tv reviews
  1. 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.
  2. It's not a bad show, it's just a bit too familiar.
  3. 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.
  4. 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.
  5. Neither the script nor the production is substantial enough to make the story quite stand on its own.
  6. SEAL Team Six, though inevitably exciting in its conclusion and touching at times, refuses to commit either way. This failure of nerve not only dooms the film as both docu--and drama but also contradicts its main theme.
  7. If this seems a hodgepodge of ideas, well, that is the general feel of Mankind--a scattershot catalog of man's greatest hits, lovingly enacted by a cast of grim and grimy thousands and propelled ever forward by a relentless soundtrack and urgent narration by Josh Brolin.
  8. Narrated by Stone with no other voices (save actors filling in for various world leaders), Untold History is a hodgepodge of terrific if often disturbing historical footage and bizarre theatrical asides (including, at one point, the dictionary definition of "empathy" spelled out on the screen) that are almost overwhelmed by its invasive soundtrack.
  9. Banshee has has elements of "Justified," "Big Love," Ball's "True Blood" and, of course, the film "Witness." What it doesn't have, at least in the first two episodes, is anything new to say, about small towns, power, corruption, fear, crime or love.
  10. Far more sentimental than thrilling--there are no real monsters under this hospital bed--it plays more like a mash-up of "A Gifted Man" and "The B- in Apartment 23."
  11. Cult has just the right amount of preposterous dialogue and clunky transitions to draw potential hate-watchers too, a bit of zeitgeist juggling that is both slightly nauseating and admirable.
  12. An ambitious character-driven drama over-enamored from the get-go with its tricky structure and coy premise.
  13. 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.
  14. The pilot half aims for the exaggerated, other-worldly tone of "Arrested Development" and misses.... The second episode, by contrast, has a healthy dose of the ordinary mixed in and is actually about something: the invisibility of the working class.
  15. There is a professional, even a grim efficiency to the jokes.... There are breast jokes, genital jokes, a long oral sex joke, an alcoholic-sorority-girl-defecating-in-a-closet joke. A few hit, many miss.
  16. By pilot's end, the tension level is more "Parenthood" than "Homeland."
  17. Equal parts stupid and sweet, The Goodwin Games does not appear to be built for the long haul.
  18. With a shorter to-do list and more ruthless editing--far too much time is spent in close-ups on the hosts--Showville could be as good in fact as it is in theory.
  19. There are many powerful scenes in The White Queen, moments that illustrate time and again how a woman's body was both her greatest tool and her inevitable prison; a man could control his fate by mind or sword, a woman can do it only by proxy. Unfortunately, they are surrounded by the misty, swampy lands of generic medievalness.
  20. The Guardian, despite having some promise, wears prominently on its forehead the scarlet "P" of predictability. You can be fairly certain that not only will Fallin make this difficult situation work, but that he'll be a better man for it. [25 Sept 2001, p.C2]
    • Los Angeles Times
  21. Apart from Underwood, who has class-A TV-star appeal, the show is nothing special. No worse than or much different from your average character-driven cop show.
  22. It's "House of Cards," with a werewolf/vampire hybrid instead of a charming but ruthless Southern senator.
  23. Unfortunately, though Wilson remains gorgeously fearless in her willingness to go all in, neither the network nor Wilson (she is an executive producer) know quite what to do with that.
  24. It is, by turns, hilarious and histrionic, illuminating and infuriating.
  25. Almost Human isn't terrible, it's just not terribly interesting, at least in the first hour.
  26. Enlisted is an oddly quaint show, a stateside service comedy, if not quite a peacetime one.
  27. The turn and turn again structure is definitely appealing, albeit a bit self-conscious. The cast is terrific and LaBute knows his way around dialogue.... But watching guys hand-feed their inner cavemen from the table is not nearly as much fun as LaBute seems to think it is.
  28. Neither [Hirsch and Granger] offer any insight into what drove the couple, what they actually hoped to achieve, and what kept them going when it became clear that things were not going to end well. And History might have a little soul-searching to do; dramatic license should not mean Make a Huge Number of Important Plot Points Up.
  29. Some of these bits work very well, albeit as free-floating shards of comedy.... But parody works best when its subject is either truly iconic or still relatively fresh in the minds of the audience and, mercifully, the B-list miniseries of yesteryear are neither.
  30. If you even suspect you won't hate it, it's worth a look.

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