Los Angeles Times' Scores

For 1,100 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 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Band of Brothers: Season 1
Lowest review score: 0 America's Funniest Home Videos: Season 1
Score distribution:
  1. Mixed: 0 out of 586
  2. Negative: 0 out of 586
586 tv reviews
  1. The standoffs... are less than exhilarating thrill rides.
  2. 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.
  3. Something got lost between concept and execution, and instead of suspense we get silliness
  4. All in all, it is pretty thin and flat; there are jokes that work, and the cast is able, but not in the service of anything substantial.
  5. Unfortunately, it is difficult to stay interested in what happens to any of these characters because most of them are so absurdly unlikable.
  6. Most of the actors, who admittedly don't have much to work with, seem to be visiting rather than inhabiting their parts....All in all, a trip to the zoo will serve you better.
  7. Though it starts out with a fair bit of energy, in spite of regular paroxysms of royal lust and pique, it becomes less engaging as it goes on and grows finally rather dull.
    • 52 Metascore
    • 40 Critic Score
    It certainly looked good on paper. Alas, like some seductive Internet suitor, Journeyman seems perfect until he actually shows up, weedy and uncertain, at your door. In an effort to keep things grounded in "real life," as opposed to groovy sci-fi counterculture, writer-producer Kevin Falls relies on an earnestness that grows irritating.
  8. In the Motherhood worked as a Web series based on real-life stories but not, it would seem, as a television series based on overused stereotypes.
  9. Call Girl's greatest flaw is not that it's exploitative but that it's surprisingly dull.
  10. Knight Rider is something for 12-year-old boys (and 12-year-old-boys at heart), undemanding, unsophisticated, no deeper than the thickness of a comic-book page.
  11. Kath & Kim needs to decide if it wants to satirize American parenting or popular culture. Because if the first two episodes are any indication, it certainly cannot do both.
  12. What they do have in common is wintry Canadian weather, a general lack of humor without having much serious to say and the fact that they are not particularly scary.
  13. At the very least the rather admirable cast should be allowed a do-over with a script that doesn't confuse petulance with wit or meanness with misdirection.
  14. The show that premieres Sunday night, between "The Simpsons" and "Family Guy" in the space formerly occupied by "King of the Hill," is weak--not hopeless, but given the pedigree, heavily disappointing.
  15. Swayze, his face worn craggy by age and his battle with pancreatic cancer, remains a noble figure despite the ridiculousness that surrounds him. With the bearing and the mien of a man who is fighting for the survival of his own humanity, he clearly could have done much more with less.
  16. It feels thin, mechanical and confused.
  17. Apart from the Oedipal twist, it seems to be pretty much your standard "Bachelor"-style hookup show, the women all bunged up together in a fancy dormitory.
  18. Criminal Minds: Suspect Behavior has the same rapid pace of the original, a narrative tool that both amps up the action and keeps the viewer from dwelling too much on the gargantuan leaps of imagination that pass for police work. It also works against the show, preventing it from fully making the insightful points it does have.
  19. A little whitewashing is forgivable in a biopic, but to make a movie about the most influential figure in fashion history in which she spends more time moping around about her boyfriends than she does designing clothes is infuriating.
  20. As is so often the case with "reality television," there's nothing TV producers hate so much as actual reality (bo-ring!), and so everything is tarted up with superfluous soundtracks and staging, with breathless voice-overs, mood lighting and lots of half-baked psychology.
  21. With a host of performers skilled in delivering Big Effects, the evening regularly delivered top-grade professional pop music, though it was rarely thrilling in a way that made you reconsider an act or decide to change your life.
  22. This Prisoner is as much about Two as it is about Six and that the actor seems to be enjoying himself makes his scenes pleasant to watch even when they don't add up to much; there is a music to his readings even when the lines are obscure.
  23. Parrilla is a compelling presence, and it's marvelous to see Northam all modern and un-martyred after his terrific turn as Thomas More in "The Tudors." But there is a strange lack of chemistry among the cast, perhaps because they are continually forced to deliver monologues on how difficult their jobs are and say things such as: "Life, so bloody beautiful."
  24. If only it were possible to care, even the least little bit, who did what and why and what will happen next. But as of the end of Episode 2, it just isn't.
  25. More often it is labored and belaboring, from the eccentric station-house staff--including Abraham Benrubi, wearing Willie Nelson's old pigtails, as a Chickasaw desk sergeant, and DJ Qualls as a slack-jawed Cletus of a patrol officer--to the Elvis imitators on the street and Dwight's constant promotion of Memphis as "sacred ground" to people who, after all, live there too.
  26. Sunday night I mostly felt I was watching funny people being less funny than they are in their day jobs. What should have appeared spontaneous came off, even when it clearly was spontaneous, as worked-over, the fun seemed insisted upon.
  27. [This] is why this strange, shallow puddle of comedy is so difficult to accept. With all eyes on Leno, this is the best he, and his writers, and the struggling network could come up with?