Los Angeles Times' Scores

For 1,209 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 Rectify: Season 1
Lowest review score: 0 Anchorwoman: Season 1
Score distribution:
  1. Mixed: 0 out of 631
  2. Negative: 0 out of 631
631 tv reviews
  1. The historical documentaries are more successful than the cultural ones, for having a better story to tell, but all are made in a similar style, without written narration, driven by news clips and interviews (with scholars, participants and celebrity rememberers, Hanks naturally included).
  2. It moves along, dutifully moving the players to their appointed plot points. And there are some nice performances; I would draw your attention to that of Naturi Naughton, as Ghost's wife, consistently a warm body in an often chilly show.
  3. It's a fine cast, and one wishes they had something a little more focused to do, something a little less predictable, something that wove the isolated good moments into a consistent whole.
  4. Dane is fine and steady center for the drama; his Chandler can handle banter, bathos (Chandler left a wife and kids behind in the now plague-decimated States) and blather (some of the dialogue is less written than forked out of a can).... Still, The Last Ship seems determined to put concept before character, which is a much bigger problem on television than it is on film.
  5. While there are many reasons to like Taxi Brooklyn, including and especially its two fresh and likable leads, it too often wobbles and stalls, unwilling to commit to one type of storytelling or the other.
  6. For every ridiculous plot twist (it's hard to imagine any wife offering infidelity as a solution before, you know, "get a job" or "empty the dishwasher once in a while"), there is a lovely flash of honesty.
  7. Though some of it is effective, much of it is not, for all that it strong-arms the viewer with dark atmosphere and upsetting events. (Watch out for that cat.) It is, in its opening hours at least, a moody muddle.
  8. The new cast is fine (Stewart is a very interesting actor) and the story, although not very deep, inspired or mind-melding, has a nice payoff. But getting there takes much too long. ... Although handsome, this is a slow, thudding two hours badly in need of energizing.
  9. The bickering of the brothers -- who spend most of the half hour trying run down an anticipated inheritance from their deceased father -- quickly flattens into a tedious monotone. Loosen your seat belts. [19 Apr 1990, p.F10]
    • Los Angeles Times
  10. Quantum Leap for the most part is so excruciatingly slow and laborious that you wonder if director David Hemmings was trapped in his own time warp. Yet Bakula does nicely, and the story ultimately accelerates and even yields some very affecting moments as Beckett intrudes on his own past. [25 Mar 1989, p.C6]
    • Los Angeles Times
    • 36 Metascore
    • 40 Critic Score
    There is a plot twist along the way, but what finally ensnares the judge in a courtroom confrontation is another development of Matlock's devising that seems completely implausible. [23 Sept 1986, p.C10]
    • Los Angeles Times
  11. The premiere has a nice look, but not nice enough to compensate for a plot that lacks suspense and features a mystery whose culprit should be so obvious that you may suspect a red herring. [22 Sep 1995]
    • Los Angeles Times
  12. Initially sleek and stylish but empty. [23 Sep 1992]
    • Los Angeles Times
  13. 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]
    • Los Angeles Times
  14. 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.
  15. "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.
  16. The production values are extremely high. This may be trash, but it comes in an attractive can.
  17. 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.
  18. 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]
    • Los Angeles Times
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. A production that tends to make everything look artificial, that freezes the air between the characters and keeps them distant.
  26. The problem with "Modern Men" is that the scenes between the guys and the life coach don't play.
  27. Graft a "Big Chill"-like premise onto a stiff yet sudsy soap opera and you still have a stiff yet sudsy soap opera.

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