Los Angeles Times' Scores

For 1,330 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 Undeclared: Season 1
Lowest review score: 0 Anchorwoman: Season 1
Score distribution:
  1. Mixed: 0 out of 707
  2. Negative: 0 out of 707
707 tv reviews
  1. Where once Nip/Tuck crackled, it now whines and sighs; where once it shocked, it now plays nice.
  2. Equal parts stupid and sweet, The Goodwin Games does not appear to be built for the long haul.
  3. It's hard to tell from the premiere precisely what Latifah is going for here, besides the truly fabulous set that was, apparently, designed by Lenny Kravitz.
  4. The best thing Criminal Intent did was dump its low-brow, lower-IQ pilot. What remains, though, is routine at best, the violent master criminal planning a million-dollar diamond heist in the premiere naturally proving no match for the brilliant, X-ray-sighted Goren.
  5. 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
  6. While its cynicism about suburbia is superficially novel, the show itself is quite old-fashioned if not old hat: lame dad, smart mom, cute child, knowing child, strange neighbor. Door here, door there, couch in the middle.
  7. It's "House of Cards," with a werewolf/vampire hybrid instead of a charming but ruthless Southern senator.
  8. 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.
  9. Ryan prompts the patrons to talk, but the stories don't really develop into much; and although the arms-buying demographic is indeed wider than one who has not spent much time in a gun store might imagine, their reasons for buying tend to be variations on the same few themes: I was robbed; I don't want to be robbed; guns are fun to collect and shoot.
  10. It tries very hard not to take the expected path. Too hard, unfortunately. So determined are Hunt, executive producer/showrunner Jenny Bicks and Linney that The Big C be unsentimental that they jam early episodes with so many over-blown characters and wacky antics that it's impossible to attach meaning to any of them.
  11. Certainly Olbermann is refreshing, and singular, in the clarity of his mission, which is to defend the liberal point of view with the same sort of take-no-prisoners rhetoric that conservative pundits like Bill O'Reilly have wielded so effectively. But the blatant uber-medianess of his persona seems, at times, in direct conflict with that belief that "the weakest citizen is more important than the strongest corporation."
  12. You begin to feel strung along on an errand whose complexities can't mask the fact that the main character isn't great company.
  13. It's diverting enough while it goes by, even if you can see where the story's going long before it gets there.
    • 33 Metascore
    • 50 Critic Score
    The cheese factor is undeniable, but The Bachelor makes a connection with its audience beyond the vicarious thrill. [25 Mar 2002, p.C20]
    • Los Angeles Times
  14. 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.
  15. The performances, in and of themselves, range from solid (King's) to inspired (Marshall's)....But taken together, there is both too much and too little going on.
  16. 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.
  17. 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.
  18. It is, to be fair, watchable enough, if watched uncritically, and not without flashes of high craft; art and inspiration are a little beyond its grasp. [3 Jan 2005]
    • Los Angeles Times
  19. "Human Trafficking" is at once a sobering, tough-to-watch dramatization about girls taken from the streets of their hometowns around the world and sold into sexual servitude and a clich├ęd drama about said topic.
  20. Nothing about the pilot of "Teachers" is particularly eye- or ear-opening.
  21. It's "Desperate Housewives" all over again -- the whodunit overlaid by a titillating comedy of shame-based suburban manners and shame-based depravity, the word "bitch" used scandalously. [24 Sep 2006]
    • Los Angeles Times
  22. 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.
  23. When the campers are just sitting around talking, about sex or God--or about each other behind their various radio-miked backs--they provide the gentle stimulation of coffee-shop eavesdropping.... When they argue, which they do, mostly over food and money or someone's self-professed expertise not being respected, it becomes tiring, like listening to the neighbors fight.
  24. As is often the case with melodrama, I find Revenge essentially unconvincing and also quite likable.
  25. Much of the first two episodes of Cristela feels dishearteningly retro.... Still, Alonzo is a pleasure to watch.
  26. The show, in its way, is too slight to be totally fulfilling, tending to collapse into slapstick, but it can get by on moments.
  27. Hart of Dixie is a stack of familiar scenarios stitched together to form a pretty if not terribly substantial quilt, of the sort Zoe encounters in Bluebell.
  28. An ambitious character-driven drama over-enamored from the get-go with its tricky structure and coy premise.
  29. What it all adds up to tonight, unfortunately, is something akin to a very slow camel or burro ride across long stretches of arid desert. There's dialogue galore, but comparatively little action and virtually no suspense.

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