Los Angeles Times' Scores

For 1,386 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 3.4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 The Returned: Season 1
Lowest review score: 0 Cavemen: Season 1
Score distribution:
  1. Mixed: 0 out of 736
  2. Negative: 0 out of 736
736 tv reviews
  1. There's nothing here you couldn't imagine from the premise, but there's also nothing wrong with what's here: McGraw is a good foil for Grammer, and Grammer is good at what he does.
  2. The cleverest part of the show is that it makes the judges into contestants; they compete against one another for the right to invest in a business, and they haggle with the entrepreneurs over the terms of their investment.
  3. As is the case with pilots, the seams tend to show--the bountiful expository dialogue makes no effort to veil its purpose, and the production is a tad too insistent that we find these scamps charming. But they are fairly charming at that, and though the spy stuff is all unconvincing hokum, the company is easy to bear.
  4. Most of what doesn't work in the pilot happens when the production strives for a big effect or grand stroke, while all of what works best happens in the close space between the leads.
  5. There is much to like and learn from the miniseries. Alas, executive producer Stephen David and his creative team seem intent on getting in their own way, cluttering up the inevitably fascinating narrative (offered here by Jeremy Renner) with all manner of clunky historical reenactments, hyperbolic characterizations and a soundtrack that should be shot for treason.
  6. Painless at worst, and mostly better than that.
  7. Where "The Returned" was content to tell its story in elliptical scenes and character sketches, Resurrection keeps them tightly tied together and bound to an investigative uber-narrative--Marty and Maggie are partners in detection with the requisite possibility of romance. The result is a lot of narrative that often strays too far from the original and much more provocative conceit: Hey, we see dead people.
  8. When Believe tries to be meaningful, it's also at its most obvious, and the show could prove to be too willfully touching for its own good. But it doesn't seem impossible to me that they could get the mix right.
  9. Although the characters are too inconsistent to be entirely believable and often act too inanely to be respected, there are enough nice moments here to lift "The Outsiders" above the ordinary and give it promise.
  10. It's too schematic by half, the banter rarely ascends to the level and wit, and it contains barely a believable moment... but it is not without a certain energy and cast-based charm.
  11. Almost immediately you can tell it's a kind of fantasy camp for "Sports Center" junkies.
  12. Except in the decorative details, it is exactly the same as every other gimme-a-job reality show ever made, with the contestants all banged up in a fancy dormitory from which they disappear one by one after themed weekly challenges.
  13. "Casanova" only gets into trouble when it wants to mean something, and the more pointedly emotional moments seem cooked up to the point of hokum, but it's fun when it wants to be, and most of the time it just wants to be fun.
  14. A more than occasionally funny show in which Gabi (Emily Osment), an appealing but financially challenged food blogger, becomes personal chef to Josh (Jonathan Sadowski), an appealing but romantically challenged tech-ionaire.
  15. Its uniqueness and arresting style don't earn it an unqualified endorsement here, for its first two Fontana-written episodes are absolute downers--there's no light at the end of a tunnel, nor even a tunnel--that offer no central characters to like or pull for...Be forewarned, too, that Oz is flat-out the most violent and graphically sexual series on TV. By contrast, it makes ABC's "NYPD Blue" look and sound like dancing Barney. [12 July 1997, p.F2]
    • Los Angeles Times
  16. It's probably enough to say that if you like this sort of thing, this is just the sort of thing you'll like. (If the tautology fits, wear it.) Rodriguez knows how this machine works as well as anyone alive. Whether such sensationalist kicks are good for us "as a people," or indeed as people in particular, is a question the culture and its guardians and gadflies have been batting around for years. A decision is not due any time soon.
  17. The collective IQ of the cast is noticeably higher than on the "Real Housewives" while the vitriol is lower.
  18. 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.
  19. [Scott Baio's] naturally relaxed presence mitigates the show's more hectic leanings.
    • 45 Metascore
    • 60 Critic Score
    An uneven debut.
  20. "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
  21. 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.
  22. 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.
  23. Steinberg is a polite, solicitous host -- too polite and solicitous.
  24. 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.
  25. 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.
  26. At times it feels enough that the players seem to be enjoying themselves to enjoy it alongside them.
  27. While the performances are first-rate, and the film is never less than enjoyable, it doesn't quite take off.
  28. Perfectly fine and nothing special.

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