Los Angeles Times' Scores

For 1,595 reviews, this publication has graded:
  • 54% higher than the average critic
  • 3% 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 Behind the Candelabra
Lowest review score: 0 Cavemen: Season 1
Score distribution:
  1. Mixed: 0 out of 859
  2. Negative: 0 out of 859
859 tv reviews
  1. Creators Ed McCardie (the British "Shameless") and Corinne Marrinan ("CSI") understand that characters are what make memorable television, though the shifting moods of the cinematography certainly doesn't hurt either.
  2. The show is exceptionally well made from top to bottom and pulls you in and pulls you along, owing not least to a host of terrific performances.
  3. If there's a better written, better acted, more originally conceived show on television, I defy you to name it.
  4. Terrific acting, crackling dialogue and geek-hip crime are not the only things that make this the most electric drama to premiere this fall.
  5. Even those who are normally allergic to capes and spandex are likely to be intrigued, particularly by Colter’s simmering performance. ... The supporting cast is equally enjoyable, particularly Alfre Woodard as Mariah Stokes, Cottonmouth’s cousin and a corrupt city councilwoman, and Simone Missick as Misty Knight, a streetwise detective and Luke’s would-be love interest.
  6. Cop show, fantasy, mystery, comedy, romance, puzzle -- there are a lot of ways to approach "Life on Mars," which begins its second and final season tonight on BBC America, and they all pay off.
  7. The tone may veer a bit wildly from grim to hilarious for an American audience's taste, but once Hamm and Radcliffe settle into their roles (and Hamm into his accent), it could very well live up to its U.K. rep and provide Ovation with some skin in the game.
  8. Marta Cunningham's documentary Valentine Road is a profoundly disturbing and extremely effective attempt to make us stop in our tracks and try to answer the questions we so patly ask.
  9. A complicated, and occasionally whimsical, series of tactics lend the 90-minute premiere the wide-open, yet tensely meticulous feel of a good heist film.
  10. At least initially, don't expect balance in other areas, either, for one of the religious right characters showing up tonight is a ruthless fanatic, the other a toady. That's politics, in Hollywood as well as Washington, D.C. [22 Sept 1999, p.F1]
    • Los Angeles Times
  11. The first hour is overly obsessive-compulsive in plot points--code strings and routers as the new McGuffins--but the adolescent rage of its protagonist gives it emotional life.
  12. The real miracle here is how deftly the show avoids the soggy cliches of redemption so many of its forerunners have embraced. [26 Sept 2003, p.E1]
    • Los Angeles Times
  13. While it goes out of its way to cast these soldiers as the heroic equals, if not betters, of their "Greatest Generation" counterparts, the series does not have the same impact--mainly because these images, though at times awful and upsetting, are also much more familiar.
  14. An endearingly weird and bent new ABC comedy.
  15. Mostly the half-hour segments move in and out of often disjointed moments of Christine's escort-driven life at a pace that seems intentionally, and unforgivably, elliptical.
  16. Seek, stylish and superbly performed, BBC America's Cold War drama The Game offers more to look at than think about, but then there's something about espionage that almost always calls for a little eye candy.
  17. It's an intoxicating if precarious concoction, capable of exploding or imploding at any moment, which only adds to the fun.... She is able to keep words like "pathetic" and "deranged" at bay for the first hour through sheer force of will, but now that the concept has been established, the scripts will need to give her firmer footing and a little more room to move.
  18. It's a solid enough formula, and if the writers have overly epic ambitions, they also have a collective eye for detail.
  19. This familiar package notwithstanding, the premiere of Gideon's Crossing delivers a complex and challenging main story of moral ambiguity as well as stunning performances by Andre Braugher as Gideon, Bruce McGill as a despotic patient with seemingly untreatable cancer and Russell Hornsby as chief resident Aaron Boies. [10 Oct 2000, p.F10]
    • Los Angeles Times
  20. It's perhaps appropriate to the subject matter that the show's main appeal is sensual rather than cerebral, grounded in a host of superb performances.
  21. The script can seem both a little precious and a little obvious at times, dropping references to Pandora's box, the golem, Einstein's definition of insanity and Schrödinger's cat. But all in all, it works.
  22. It's difficult to begrudge the producers their poetry--on one level, the imagery begs for similarly breathtaking language. But in this case, less might well have been more; the narration works best when it is relaying information rather than describing a "sun-spangled yearning to move."
  23. You either like Odenkirk's nervy, nervous and surprisingly soulful performance or you don't--and it's pretty hard not to like.
  24. What sets Push Girls apart [from other reality shows] is that these plots, and these women, are actually interesting.
  25. Becoming Chaz is undoubtedly one of the most thought-provoking films you will see on any screen this year, a frankly chronicled tale of Chaz's life as a transgender man that opens a more than occasionally mind-blowing conversation about the essentials of gender, and subsequently, sexuality.
  26. Community continues to achieve a tricky balance of cynicism, sentiment and surreality.
  27. It matters less whether UnREAL is accurate than whether it is just true enough to provide a foundation for credible drama--and it very much does.
  28. Cancer is, of course, its own ongoing holocaust, and Goodman is determined to examine it thoroughly, objectively (which is not to say clinically) and fearlessly. The result is possibly the least live-tweetable six hours of television you will ever see and also among the most important.
  29. Unfortunately, so smitten are the creators of John Adams with historical earnestness and pedigree they seem to have forgotten how to tell a good story.
  30. Although Romano is the keystone of the group, it is very much an ensemble drama buoyed by writing that protects the characters from the perils of self-pity and self-indulgence with quick and gentle humor and plot points that capture the forces a middle-aged, middle-class man might actually battle.

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