Los Angeles Times' Scores

For 1,333 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 3.7 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 Full House: Season 1
Score distribution:
  1. Mixed: 0 out of 707
  2. Negative: 0 out of 707
707 tv reviews
  1. If it plays havoc with the realities of medical practice, well, so did "House." And to glamorize, sanitize and romanticize illness is, after all, an old Hollywood tradition; and this is a show with a target audience for whom even death, in soft enough focus, can constitute a sort of wish fulfillment.
  2. The leads each fare better when her character is a little off base--Fonda's when she defrosts a little, Tomlin's when she toughens up--and the show is more fun when they're in a mood to cooperate than when they're trading barbs.
  3. Birds of Prey follows in the great tradition of superhero noir. It's grim, dark, smoky and, most important, ripping good fun as these butt-kicking Dynamic Dolls have themselves some nights on the town.
  4. Except in the decorative details, it is exactly the same as every other gimme-a-job reality show ever made, with the contestants all banged up in a fancy dormitory from which they disappear one by one after themed weekly challenges.
    • 58 Metascore
    • 80 Critic Score
    Fox's Back to You is back to TV comedy basics: multiple cameras, live audiences but, mostly, laughs.
  5. Despite the strength of its parts, the whole feels very nascent and shaky.
  6. While the series, which opens with a ship being boarded and taken, does have its moments of big, noisy action (see: Michael Bay, above), it spends a lot of time on land, as well, with the main characters taking care of business, making plans, laying traps and working on their surprisingly complicated personal relationships. There is also, tedious to relate, an abundance of female nudity.... Other than that, Black Sails' depiction of daily life among the pirates is plausibly authentic and workaday, and the Nassau through which they roam feels real and well-peopled.
  7. It's corny, ponderous, literary, ambitious, obvious and, at the beginning at least, as slow as molasses, but continually re-energized by Ian McShane as King Saul, or, as he's known here, King Silas Benjamin
  8. It's at its funniest when it moves out of the studio and into the world, where Triumph does his rude-dog-on-the-street act, like a canine Billy Eichner channeling what is not yet the ghost of Don Rickles. There is something actually audacious about these bits but also genuinely fun; you're let in on the game.
  9. It is nothing new, but it is well assembled and expertly played.
  10. Their TV show, which might make the band more famous than its music, is lightweight, sometimes flat and sometimes embarrassing, with none of the deadpan brilliance of "Flight of the Conchords" or the sophisticated sitcomedy of the late “The Chris Isaak Show.”
  11. Though both are actors with pasts that border on Hollywood satire, they appear more "real" than any other set of reality drama stars on TV today. No moral compasses here, no self-sabotage, no attempt to brand themselves with a phrase or a fist pump, just a very, very complicated family and fairly reasonable expectations.
  12. 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.
  13. Though chock-full of plot, it is decidedly short on dialogue, there is little narrative transition and, with a few very notable exceptions, no character development.
  14. 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
  15. Unfortunately, if you name a show Unforgettable you really need to deliver, and the pilot just doesn't.
  16. For all its apparent technical accuracy and some real-world name-dropping, "Justice" feels no more lifelike than "Perry Mason."
  17. While the broad strokes tend to remind you that you're watching a fiction, the finer details are well done - the bits and pieces are satisfying, even as you note the rivets and seams that join them.
  18. Early episodes are, regrettably, filled with television tropes. Still, Allegiance could evolve into the show it clearly hopes to be. But only if it plays to its strength, which is to say Hope Davis.
  19. It's diverting enough while it goes by, even if you can see where the story's going long before it gets there.
  20. Overcrowded with plotlines, high-tech gimmicks and ambition yet empty of emotional connection and purpose, Dollhouse tries so hard to be so many things it winds up being nothing much at all.
  21. The Comedians is a strangely mixed bag, which works or doesn't work from moment to moment and from mode to mode.
  22. The show starts out annoying and then gets less annoying. ... I don't have great hopes for this, but I had expected it to burn the eyes from my head, and that is not at all the case.
  23. 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.
  24. It's just the same joke endlessly repeated--the everyday translated into geek-speak, and the obscure and difficult treated as if it were common knowledge.... These are perilous times for sitcoms, and Lorre & Co. may want to think up another.
  25. For as long as it has, 12 Monkeys works beautifully as a fast-paced sci-fi thriller that is actually far more complex.
  26. Equal parts stupid and sweet, The Goodwin Games does not appear to be built for the long haul.
  27. The show... doesn't seem to be aiming for anything higher than a comfortable middle ground, bypassing a chance to watch Goldblum send up our preconceived idea of Goldblum.
  28. Notwithstanding the novelty of the setting, the nice Latin music and good individual work by the cast--Walker is especially notable in a role made to notice--Smits is the engine that drives the ship; he gives Cane at least an illusion of speed and substance and soul.
  29. "Carnivale" is beautiful to look at, but it drags. ... To watch "Carnivale" is to feel you have purchased a moody Tom Waits concept album, where he's banging on trash can lids and mumbling about Satan into a megaphone. [7 Jan 2005]
    • Los Angeles Times

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