Los Angeles Times' Scores

For 1,190 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 Seinfeld: Season 1
Lowest review score: 0 America's Funniest Home Videos: Season 1
Score distribution:
  1. Mixed: 0 out of 622
  2. Negative: 0 out of 622
622 tv reviews
  1. Initially sleek and stylish but empty. [23 Sep 1992]
  2. Fresh Prince of Bel Air is being touted as a sure hit. If it becomes one, it will be because of the raw likability of its star, rapper Will Smith, not because of his acting skills or even anything that's been written for him in this NBC comedy. [10 Sept 1990, p.F9]
  3. The premiere of Designing Women...provides fewer answers than indications. And the indications are that even good performers in an appealing setting won't make Designing Woman funny without better-designed scripts. Snappy, yes. Laughs, no.
    • 42 Metascore
    • 40 Critic Score
    What In the Heat of the Night may lack most, ultimately, is heat, the fundamental tension between Gillespie and Tibbs that would lift them onto some higher ground beyond the TV cliche of innocently bickering partners.
  4. "Carnivale"... moves like molasses and, for all its careful creepiness, generates very little actual suspense and precious few moments of unpredictable wonder.
    • 51 Metascore
    • 40 Critic Score
    Instead of giving NCIS a playful touch, which could have distinguished it from "JAG," the writers repeatedly make every word and every situation as predictable as possible. Even the attempts to be hip and humorous -- Gibbs gets some shut-eye on a gurney alongside a corpse, the tattooed Sciuto loves to party into the wee hours -- seem as fresh and innovative as an "Adam-12" marathon.
  5. The production values are extremely high. This may be trash, but it comes in an attractive can.
  6. A more than usually steamy "Jane Eyre," it seems to have been made especially to appeal to viewers whose week peaks with "Grey's Anatomy." ... And yet, despite these passages, the production overall comes off as a little dry and dutiful.
  7. The devices are in place, and there's intelligent writing, but here the approach feels a bit tired, like a better version of those commercials set in offices, where the drabness of corporate life is mocked to sell some shiny new gadget, or to make you feel superior to it all. [23 Mar 2005, p.E1]
  8. Sinise, a real movie star and the co-founder of Chicago's famed Steppenwolf Theatre, is a fine actor, and so are they all, all fine actors. But none has much to do here -- the dialogue makes "Dragnet" seem positively chatty.
  9. Clearly, he cares about firefighters and knows them, knows the cadence of their speech, what matters to them. But Rescue Me feels like a misguided gesture of goodwill -- one that serves Leary's vanity in addition to his heart.
  10. It delivers mixed signals. Because the language is elevated, the production assured and the acting fine, it can feel that something important is happening. But perhaps there is less here than meets the eye; maybe it's just a tricked-up mystery show. It comes on like satire, but it's too scattershot, too inconsistent, too over the top to make any significant points.
  11. There are good things in it, some well-written scenes and dynamic exchanges and excellent acting... But, ultimately, it doesn't cohere or quite convince.
  12. For all its putative complexity, then, its passing examination of radical Islam versus peaceable Islam, its allusions to Guantanamo Bay and the Iraq insurgency, "Sleeper Cell" feels more like "The Shield," the L.A.-based cop drama on FX, the characters talking in overly stylized, expository quips, the L.A. cityscape whipping past in convincing fashion.
  13. The result is another finely acted cable drama with great production values and the germ of an interesting idea behind it but no coherent tone or character development or story, even -- just a series of attempts to pass off creatively exaggerated behavior, the more desperate the better, as some kind of social commentary.
  14. A production that tends to make everything look artificial, that freezes the air between the characters and keeps them distant.
  15. The problem with "Modern Men" is that the scenes between the guys and the life coach don't play.
  16. Graft a "Big Chill"-like premise onto a stiff yet sudsy soap opera and you still have a stiff yet sudsy soap opera.
  17. While it's quite watchable if you don't expect much from it, and while even though the cast is good company... the show is not vivid or daring enough to overcome one's sense of having seen it all before.
  18. Romijn is quite fetching here, both in looks and performance.
  19. The notion of Graham as a TV star is an enticing one, but she's starring in a show that's not big enough for her.
  20. The film goes along quite well, with the usual grabs and gotchas no less effective for being so familiar, as long as no one is talking.
  21. Like a Hallmark card, it is a thing of prefabricated sentiment.
  22. The episode galumphs loudly across a checkerboard of scenes -- Stark at work, Stark at home, Stark at work at home -- that achieve neither the convincing quality of detailed realism nor the dumb fun of untethered melodrama.
  23. Peter Berg... seems to have decided that the show would only work if storytelling were pared down to quick-cutting iconography set to guitars.
  24. For all its apparent technical accuracy and some real-world name-dropping, "Justice" feels no more lifelike than "Perry Mason."
  25. The standoffs... are less than exhilarating thrill rides.
  26. It's "Entourage" on the cheap, without the fun stuff.
    • 65 Metascore
    • 40 Critic Score
    Unfortunately, though, not only must the actors out-act one another, they must also best their wardrobes--Platt's hair is a slick helmet, Sunjata's Afro and mustache are disorienting, and Turturro's ears demand their own show. In this way, and others--clumsy editing, continuity and so on--Bronx consistently undermines itself.

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