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 3.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Game of Thrones: Season 1
Lowest review score: 0 Painkiller Jane: Season 1
Score distribution:
  1. Mixed: 0 out of 736
  2. Negative: 0 out of 736
736 tv reviews
  1. Many heads bend over this adaptation, each belonging to a master of his or her craft, and what emerges is a truly new, and miraculously accurate, definition of epic television.
  2. It's not quite perfection. Nearly everything to do with the character of Piper's fiancé, Larry (Jason Biggs), somewhat based on Kerman's now-husband Larry Bloom, seems problematic to me. Similarly, in emphasizing the humanity of the inmates, their warders have been made to look, for the most part, pathetic, foolish or monstrous. That is remedied in part this season by a deeper look at the staff, even as some of the more difficult prisoners, like Uzo Aduba's Crazy Eyes, are brought into better focus.
  3. Breaking Bad is as good as a show on this subject could possibly get, but the subject has its drawbacks. I like it, I admire it, but I can't say I enjoy it.
  4. In a more refreshing fantasy, Boomtown's L.A. appears to be almost a one-medium town. In early episodes, at least, there are no local TV pests to harass Little and her publication, who have the news all to themselves. Which is one more reason why some of us think so highly of this series. [28 Sept 2002, p.C1]
    • Los Angeles Times
  5. In Season 2 the issues and tensions remain the same, but perfectly dialed up a notch or two.
  6. [A] lovely, ruthless, masterfully restrained two-night, four-hour contemplation of love, marriage, parenthood, mental illness and identity.
  7. For all its willful outrageousness, Arrested Development is sort of gripping -- a continuing story that one actually wants to see continue, which is more than can be said of most of the new dramas the season produced. [31 Oct 2003, p.E1]
    • Los Angeles Times
  8. Tig
    A frank look at the many things that make a life, that change a life, without embroidery or quick-hit editing.
  9. There is a current of delight that runs through the show different from other reality contestants, where the grown-ups may feel they have their lives on the line; there is disappointment here, but little bitterness.
  10. Larry is getting a little ridiculous... and a little too mean even for Larry. [7 Sep 2007]
    • Los Angeles Times
  11. It works because it's less about who we were then--it's a fantasy of who we were then, really--than about who we are now.
  12. The show thus far feels more observational than story-driven; it relies on our desire to listen to Rock talk. And we do want to listen, because Rock is hilarious.
  13. Hannibal is much better than it once was, perhaps the guiltiest pleasure on television at this time.
  14. Elizabeth and Philip react with the appropriate amount of fear for and protectiveness of Paige and Henry. No doubt, this will further widen the cracks already forming in their political/professional resolve, but there is no going back: The Americans puts the kids front and center.
  15. It's not the greatest thing since sliced bread but rather a well-made sort of sliced bread, a thing you have had before but prepared with quality ingredients by bakers who know their business.
  16. If Burns' customary elegiac pace doesn't always work for his subjects--it is the opposite of everything we're told about Theodore Roosevelt, at least--he gives you time to really look at what he's brought to show you.
  17. The alien Doctor is something of a Sherlock Holmes, and Sherlock Holmes is something of an alien. This is played often for laughs, in the series' funniest, and goofiest, year yet.
  18. Goldberg may be letting idealism infringe on Alan here in a way that detracts from reality. Moreover, Alan's sophisticated sense of humor seems terribly refined for his age. In many other ways, however, "Brooklyn Bridge" rings acutely true, from the production's natural lighting to the charming interplay among its characters.
  19. "Longford," perhaps, could as easily have been a stage play — a taut, four- or five-person one. But the filmmakers artfully weave in documentary footage of the period to remind us of the personal suffering and public hand-wringing the killers caused.
  20. The lingering concussion of Sept. 11 does nothing to undermine Fox's new thriller focusing on terrorism. Instead, it adds to its credibility and makes it all the more gripping. [6 Nov 2001]
    • Los Angeles Times
  21. Speaks with a more authentic teen voice than other series in this genre, becoming an antidote for WB's "Dawson's Creek," whose articulate, sophisticated high schoolers are adults in youthful bodies...The downside is that situations and characters here are so overdrawn, little space remains for subtlety or nuance. [25 Sept 1999, p.F1]
    • Los Angeles Times
  22. "Curb" is a comedy of hostility, resentment, paranoia and obsessiveness. There are no feel-good moments, no life-brightening epiphanies, nothing, in fact, even vaguely resembling a resolution; things get as bad as you feared, and then the credits roll. [3 Jan 2004]
    • Los Angeles Times
  23. With Treme (which refers to a New Orleans neighborhood and is pronounced treh-MAY), Simon, co-creator Eric Overmyer and their team of writers (including the late, great David Mills) have proved that television as an art form cannot only rival Dickens, it can hold its own against Wagner.
  24. There is little in the way of "action"--it is possibly the slowest, most deliberative show on television, which is one of the things that makes it so lovely and mysterious.
  25. The wittiest, smartest, sharpest-written, most original comedy of the season.
  26. Gandolfini and Falco are excellent, as is the supporting work of Imperioli and others. And that grande dame of troupers, Marchand, is so coldbloodedly plausible as Livia that her eyes are ice and you can almost hear her heart freezing over. [8 Jan 1999, p.F1]
    • Los Angeles Times
  27. The show is crazy, man, now more than ever, and I mean that in the best possible way.
  28. There are no heroes or villains here, only people working out or being carried toward their individual destinies. And in who we root for and in what we root for them to choose, we also define ourselves.
  29. By rooting Top of the Lake in the real, Campion gives her more fanciful inspirations legs, and the mystery--which is, needless to say, not merely or even mostly the mystery of a missing girl--room to breathe. I have no idea where any of it's headed. But I am going along.
  30. Among the most gratifying and promising new series of the fall season. [29 Sept 1998, p.F1]
    • Los Angeles Times

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