Los Angeles Times' Scores

For 1,264 reviews, this publication has graded:
  • 52% higher than the average critic
  • 4% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 3.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Smash: Season 1
Lowest review score: 0 Painkiller Jane: Season 1
Score distribution:
  1. Mixed: 0 out of 663
  2. Negative: 0 out of 663
663 tv reviews
  1. NY Med is a surprisingly addictive medical docu-series, fascinating as much in form as it is in function. The third in a series of similarly-themed programs prod
  2. As before there is a nice balance between social drama and personal business, the tragic and the comic, exaggeration and authenticity.
  3. Beyond the emotional pull of the individual stories, Get to Work breaks down a certain us/them barrier, showing with painful clarity the holes left by the absence of family structure and education.
  4. Given a boatload of fine performances and an attractive milieu, it remains very much worth watching even when it feels like the writers are depending on your inattention or forcing their characters to act improbably in the service of a puzzle-plot that at times feels held together with string and tape and white glue.
  5. Ben and Kate is a sweet, smart new show from Fox that may turn out to be the best new comedy of the fall season.
  6. I like this a lot.
  7. Smooth without being slick, textured but not self-indulgent, Arrow reminds us that the best stories we tell are both revelatory and a whole lot of fun to watch.
  8. If early episodes are any indication, Season 3 will provide a glorious payoff for those EST-ian weeks down on the farm.
  9. This year, by contrast [to last year], the drama flows more naturally; it cuts closer to home, and nearer the bone, allowing Smith and McGovern, particularly, deeper material than has previously been their portion
    • Los Angeles Times
  10. Ethel is a moving, highly enjoyable, thoroughly absorbing portrait.
  11. In Witness we are left with far more questions than answers or even observations....Fortunately, they're all good questions, important and worth asking in any format.
  12. Though it has the pokey pace and flat affect of his other films--for Burns, history is elegy--it is also one of his best works: more tightly focused than usual in time and place, with a clear shape, dramatic arcs and a conclusion that is at once cautionary and moving, topical and timeless.
  13. Bel and her staff are no longer young Turks shaking up the fusty old BBC; now they are, for better or worse, part of the mainstream news media, forced to question their own motivations as well as those of the Establishment. In the first two episodes anyway, this makes for a more sophisticated storytelling, a drama of adults who must take responsibility for decisions of the mind as well as the heart.
  14. If the rest of the series is as good as the two episodes released early for review (the fact that Netflix made only the episodes directed by Fincher available is slightly worrisome), House of Cards will in all probability become the first nontelevised television show to receive an Emmy nomination, or four.... [However,] not everything in House of Cards lives up to the standard set by its leads; for all its cutting-edge delivery system, it is at times surprisingly pat.
  15. In both time frames, the period is richly evoked, and the performances are universally fine.
  16. It is well-written and certainly well-acted, with plot and psychological twists as numerous and tantalizing as the streets on which they occur.
  17. The show improves as it gathers context, and before long you stop thinking about what makes this Arrested Development different from all other Arrested Developments.
  18. Although Maria self-consciously identifies her family as "Spanish," the series displays its Mexicana proudly, and is just witty and offbeat enough to stand out from the crowd. [20 Sept 2002, p.C1]
    • Los Angeles Times
  19. Three episodes in, the story is certainly serpentine, at times self-consciously so. But there does appear to be writerly method in the madness. More important, there is Farmiga, and she, like Norma, appears up to any task.
  20. It's a powerful meditation on what happens to a community once a galvanizing threat is removed but then returns, albeit in a more benign state.
  21. The first episode took a little while to seem real, but, as Holder would say, I was feeling it before long. Like Linden, I was drawn back in.
  22. More a sketch than a thorough retelling--though still recommended as such--and as balanced as you can be about the scandal given the facts, the film begins at the end, or just before it, with the remarkable, once much-bootlegged footage of Nixon preparing to resign.
  23. A smart and highly suspenseful miniseries.
  24. It's an accomplished piece of work. And it gains heft from a number of impressive cameos.
  25. In the wonderful Family Tree, hangdog Chris O'Dowd, finding his life stalled after losing a girlfriend and a job in short order, goes in search of his roots and relatives.
  26. The writing rings true as often as not, and the actors do not wave their arms or raise their voices unduly; they play to the human moments between the rim shots.
  27. A few caricatures stick out among the characters, but the subtler conceptions, on the page and in performance, win out.
  28. Rick Beyer's fascinating, detailed and oddly delightful account of the World War II military camouflage artists whose job was not to hide men and materiel but to create battalions where none actually existed, drawing German eyes and ears to the wrong place.
  29. "The Wire's" Snoop would definitely not fit in. But this is the most impressive group of female characters ever assembled in a series, and it's not just window-dressing; each woman has a story and that story will be told.
  30. [An] enlightening biographical documentary.

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