Los Angeles Times' Scores

For 1,387 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 Big Love: Season 5
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 736
  2. Negative: 0 out of 736
736 tv reviews
  1. [Gilbert] seems like a real person, even in such a cartoon as this is.
  2. 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.
  3. The Comedians is a strangely mixed bag, which works or doesn't work from moment to moment and from mode to mode.
  4. 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.
  5. 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.
  6. 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.
  7. It lurches in tone and an accelerated narrative that seems at times to leave holes in the storytelling, gaps that draw you up short where you should be just be sailing along. Still, if it's a bit of a mess, it's not an uninteresting one.
  8. "Threshold" is a comic book, and passable as such.
  9. 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.
  10. 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.
  11. It is so far minor stuff, inconsistent in tone and not particularly original yet fundamentally sweet and, if not stared at too hard, appealing.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. 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
  19. Although we are meant to regard its dishonest protagonists as the epitome of contemporary cool, they come off as self-satisfied and pretentious.
  20. 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.
  21. Crude stuff for a family newspaper, but despite the warm-and-fuzzy-celebrity cred that star Courteney Cox brings to it, some funny lines and good acting all around, Cougar Town is a crude show, built on jokes about oral sex and droopy breasts, a show in which words like "coochie" are used with regrettable abandon.
  22. It's not all bad, but nothing in it argues that it needed to be made other than to give the people who made it something to do. It's a mediocre misfire in which the odd good parts beg for a better home.
  23. 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.
  24. Here it feels as if Sorkin has chosen an outdated media milieu for his secular humanist dramaturgy. His first TV series, "Sports Night," was ahead of the times, but "Studio 60" is behind them.
  25. For younger viewers just discovering irony and metafiction and possibly not acquainted with the screen originals, which have done them to death, this may seem fresh and fun.
  26. It's a decent enough show, a soap opera essentially, playing around with heavy themes and life-changing events but lightweight enough not to make you think too hard or keep you glued to the television when you decide you want something from the refrigerator — the TV equivalent of a beach book.
  27. There are more than a few problems here.
  28. Though DaCosta and Escarpeta each creates a sympathetic character--at times, the picture feels meant to make you forget you ever saw "Being Bobby Brown"--they lack chemistry. For all the script insists otherwise, their love, and thus the film about it, feels something less than necessary.
  29. I, the Jury, am still out on this one; it could go either way from here.
  30. 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.

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