Los Angeles Times' Scores

For 1,306 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 The Larry Sanders Show: Season 4
Lowest review score: 0 Full House: Season 1
Score distribution:
  1. Mixed: 0 out of 691
  2. Negative: 0 out of 691
691 tv reviews
  1. [Scott Baio's] naturally relaxed presence mitigates the show's more hectic leanings.
  2. Almost everything that happens on camera here, outside the therapy sessions, feels uncomfortably contrived.
  3. Unfortunately, Chicago P.D. is just that--a reminder, a breathy echo of other, much better shows. Many of which are available in affordable DVD packages and on various streaming services.
  4. Although predictable in predictable ways, there are enough twists and turns and, relatively speaking, complexities of character to keep things interesting, and a pivot at the end that I did not see coming. Which bodes well.
  5. Set now in New York, instead of Los Angeles, it is just more of the insane same--insaner, if anything--in a slightly nicer suit. As with John Heard, the ringer in the first installment, the picture manages to bring everyone in it down to its level. Or close enough.
  6. While all the characters have boilerplate for bones--the brainy one, the pretty one, the smart aleck, the tortured hunk--crisp writing and buoyant performances keep the story from trending too trite or too "Twilight."
  7. Sometimes "John From Cincinnati" is a muddle, at other times rich drama and divine comedy. And sometimes it's all of that at once.
  8. In attempting to be both sprawling and intimate, The Kennedys winds up in a narrative no-man's land.
  9. Graft a "Big Chill"-like premise onto a stiff yet sudsy soap opera and you still have a stiff yet sudsy soap opera.
  10. Beau Bridges and Margo Martindale are the ones yelling and making sex jokes while Will Arnett looks on in (justified) horror, which may move The Millers out of "unfortunate" into "unforgivable."
  11. Everything in the pilot, written by executive producer Claudia Lonow, is a hair or three too strenuous; Billie has been knocked down to a few easy-to-grasp impulses, and almost all the other roles are filled by stereotypes--Jensen's most wastefully--in stereotypical relationships. Nevertheless, the premise is full of interesting possibilities about love and age and unconventional parenting.
  12. The pilot is a minor thing but not an unpleasant one, once you get past the opening salvo of pubic-hair jokes.
  13. Unlike "Awake," however, Saving Hope does not have Jason Isaacs, a nifty crisscrossing police procedural at its heart, or anything interesting to say about the various forms of reality.
  14. This show's got nothing but laugh track.
  15. There is something satisfying about watching difficult things performed well, especially when the point is to make it look easy, and especially when the performer is a person who might reasonably be expected to fail.
  16. "Blade: The Series" is pretty good, really, as these things go.
  17. It would have been much more promising if creators David Zabel and Jason Richman had chosen subtlety, which they did not. Instead, we have the disparate and desperate characters that always seem to fuel this sort of show.
  18. As is the case with pilots, the seams tend to show--the bountiful expository dialogue makes no effort to veil its purpose, and the production is a tad too insistent that we find these scamps charming. But they are fairly charming at that, and though the spy stuff is all unconvincing hokum, the company is easy to bear.
  19. Alas, it all plays just as sappy as it sounds, even with the gorgeous and ridiculous distractions of make-do medicine.
  20. The problem is not that it's just terrible, but that it's also no fun. At all.
  21. In a world without cable dramas, Chicago Fire would be considered television at its more compelling and realistic. As it is, it walks the line between shameless entertainment--hot guys, hot girls, the fires within, the fires without--and intelligent storytelling.
  22. It's the fabulous shamelessness, the awful and yet admirable brilliance of the thing. Whether Palin will ever run for office or not, Sarah Palin's Alaska sets a new standard for political ads.
    • Los Angeles Times
  23. A clunky, clich├ęd Texas-based crime drama that has the added bonus of being unforgivably sexist, never mind that it was created and produced by women.
  24. The religious overlap--both Christian and Jewish extremists appear to be involved; the word is still out on the Muslims--lends Dig a certain resonance and depth, just as the location work in Jerusalem gives it authenticity. But in the end, it's about a man who needs to save the world to save himself. Or maybe it's the other way around. Either way, Dig promises to be a whole lot of crazy fun to watch.
  25. Swingtown walks a fine line between being a period piece, down to the pudding cups, baseball shirts and snatches of the old "$10,000 Pyramid," and parody.
  26. It is something less than magical, but it's pleasant and pretty and easy to watch.
  27. Watching it, you feel as if you have seen it all before, and will again, until eternity ends.
  28. Take "Lost," mash it up with "The Prisoner," throw in a little "Saw," over-season with badly written and poorly delivered dialogue, glaze with horror-film lighting, dream-scene camerawork and elevators like you haven't seen since "The Shining," and you've got "Persons Unknown."
  29. Lost in all the plot and character contrivance is any sense of the city--a few gumbo and bourbon references are most certainly not enough.
  30. A funny gala of fresh, cleverly bent whimsy and endearing lightness that brings out the burlesque best in Christine Taylor, allowing her to far exceed her campy neo-Marcia in two movie revivals of "The Brady Bunch."

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