Los Angeles Times' Scores

For 1,594 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 3.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Game of Thrones: Season 4
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. It is cinematic in the sense that nothing in it looks quite real. But it works: This is not the London known as jolly and old, but the new chilly city of glass, a place of missed connections, of aliens and alienation. And the smart dialogue and warm performances--even Holmes has a discernible beating heart, or perhaps two--keep ice from forming on the production.
  2. Only Julianna Margulies on "The Good Wife" is carrying a comparable load, and though Roughness is a more fanciful construction than that CBS show, with more obvious emotional victories, it feels just as honest. It worked on me as intended.
  3. Alphas deftly balances all the building blocks of great genre--nonhuman abilities, twisty plot, cool special effects, smart dialogue and characters you want to spend more time with. And that's the most impressive superpower of all.
  4. It's an accomplished piece of work. And it gains heft from a number of impressive cameos.
  5. Ben and Kate is a sweet, smart new show from Fox that may turn out to be the best new comedy of the fall season.
  6. I haven't seen ancient ordinary life so well represented since "A Funny Thing Happened on the Way to the Forum," and I am not being funny.
  7. Tig
    A frank look at the many things that make a life, that change a life, without embroidery or quick-hit editing.
  8. I like this a lot.
  9. To say that Broadbent is heartbreaking and Rampling an enigmatic marvel is to state the obvious; when the plot and tone go wandering, as they do with exasperating regularity, London Spy rests almost entirely on the astonishing ability of its cast.
  10. [Political Animals is] a high-class, relatively naturalistic, behind-closed-doors soap opera that plays in fairly obvious yet also fairly affecting ways with the space between public face and private pain and is made highly watchable by an excellent cast that finds the human among the hokum.
  11. Although The Sarah Connor Chronicles has gadgets aplenty, it has what "Bionic Woman" never quite acquired: a brain and a heart.
  12. In both time frames, the period is richly evoked, and the performances are universally fine.
  13. Creator Ian Edelman keeps his characters on the right side of caricature and avoids the kind of melodramatic confrontations their relations might typically suggest.
  14. 7 Days in Hell is as strange and splendid a bit of satire as you will ever find jampacked into 42 minutes of television.
  15. It is an homage and a celebration, with something of a high-class homemade feel.
  16. [Sontag's] personal magnetism is very much part of the story.... This alone makes for a highly watchable film, though Kates also dresses the screen with poetical visual interludes.
  17. Everything here feels lived in and actual.
  18. As produced it is more like a trip to the zoo, with the scribes imported into a set that suggests a writers' room (white board, bulletin board, index cards, big table, coffee) as a lion cage might simulate the veld. Even so, it feels like a glimpse of the real thing. Rash makes an excellent host-moderator.
  19. 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.
  20. Shows as thematically and tonally diverse as "Downton Abbey," "The Americans," "Mad Men" and "Madam Secretary" all rely heavily on the changing nature of women's roles in the 20th (and 21st) century to heighten the drama between characters and make larger points about the modern age. Being a product of Marvel and ABC, Agent Carter is, well, a lot more fun.
  21. Everyone pulls their weight; the jokes land lightly. Ferguson shows stuff that "Mad Men" never let him. Galvin is solid; Shively sweetly dim; Wood, behind thick spectacles, droll.
  22. As twisty and spellbinding as ever. [28 Oct 2002]
    • Los Angeles Times
  23. An endearingly weird and bent new ABC comedy.
  24. 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.
  25. The show can be, in odd passing moments, unexpectedly, almost nervily touching.
  26. It's smart without either condescending to or patronizing the viewer.
  27. Sweet, lyrical and a little cracked, it's worth seeking out.
  28. It's a bit of a mess, this first half hour, what with Sarah having a breakdown and quick jaunts to the Weimar Republic, but it gives Transparent more elbow room and the episodes that follow take full advantage. Though still heroic in her decision, Maura is more fully realized.
  29. Though you may note the myriad references in its many-chambered plot, it's just a house to live in finally--well-constructed, artfully furnished, with good feng shui.
  30. Creator Jon Bokenkamp matches up a deliciously absurd uber-story (20 years later, rogue spy turned freelance criminal comes in from the cold...) with the mother of all procedural shticks (and he's going to bring all his friends and enemies with him). But the ace in the hole is Spader.
  31. The Event seems prepared to make its characters as complex as its storyline, always an event worth attending.
  32. Tyler Labine makes a most excellent wacky bearded sidekick, and Rick Gonzalez and Valarie Rae Miller round out the Scooby Gang. Auteur of slackerdom Kevin Smith ("Clerks") directed the pilot, which maintains a nice fairy tale tone even as it stresses the banality of the infernal.
  33. The artfully composed images are both crystal clear and cinematically creamy.
  34. The dialogue is always to the point, yet it gives even the bit players enough room to create something memorable.
  35. A dark and strangely beautiful new sitcom.
  36. Throw in Wysocki's rookie niece, some intra-force rivalry, those great Chicago locations and a Polish sausage or two, and you have a show that breaks the network code, and that alone is worth watching.
  37. High School Musical 2 s zippier, bouncier, prettier, more soulful and even more musical than its predecessor, and that's saying something.
  38. This time around everyone, Byrne in particular, moves with an air of confidence that allows you to keep your eyes on the knives being juggled in the air rather than the person doing the juggling. Which is exactly where you want the audience's eyes to be when you're pulling off a con, or a show like Damages.
  39. A show that is visually poetic, normatively compelling and, most important, sustainable for a good long haul.
  40. 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.
  41. With the aid of Jacobs' standout performance and just enough humor and insight, [Love] slowly lulls you into a state of theta-wave fascination.
  42. Its aspirations and its execution are perfectly in sync; there is no way that Meyers could overact, or, indeed, not act enough, that would not suit the material.
  43. His style of filmmaking--to obsessively explore his subject from as many points of entry as possible--is the cinematic definition of thought-provoking.
  44. The liveliest of the year's new sitcoms. It is low, broad and abrasive, but it moves fast and has some of the urban funkiness of the old "John Larroquette Show" -- the one set in a bus station -- and was indeed created by a veteran of that series, Will Gluck.
  45. The Divide is a tense and thoughtful drama, with what promise to be complex characters and at least one breakout performance.
  46. Silicon Valley is a comedy, certainly, and a very funny one, but it doesn't spend all its time reminding you of the fact.
  47. An effervescent and super-engaging addition to television's increasingly grim comic-book wars.
  48. Not only is Gregg a beloved actor playing a beloved character, Coulson is the perfect guide for Whedon's vision. He's a super-power-adjacent Everyman who may be able to make the television series just as good, in its own way, as the film franchise.
  49. It is all very beautiful.
  50. It is a bit like Martin Scorsese's "After Hours," filtered through the sensibility of a Whit Stillman and sprinkled with "Flight of the Conchords"--and yet it feels new, because it is so completely itself, consistently itself, a mix of romance, adventure and stoner comedy (there is a lot of pot about) that never abandons the world the rest of us can recognize.
  51. The current series has fresh air to breathe and new names to drop--Chin Chin, Caltech, Hillcrest, the Edison--and apparently plans to make a meal out of Hollywood. But it hits the traditional notes square on, moving fast in brief scenes and bursts of exposition, and splitting the difference between melodrama and naturalism.
  52. A humane, human comedy, fun and funny.
  53. The writing rings true as often as not, and the actors do not wave their arms or raise their voices unduly; they play to the human moments between the rim shots.
  54. Certainly nostalgia is a factor.... But delight may be a better word. It's always good to see an old friend, and an old pro in action. Live Another Day gives us both.
  55. By loading his film with musicians and producers and songwriters who can take a song down to its components--some of whom were behind the scenes, some of whom were then just kids buying the records--Lee keeps his celebration smart and not soppy.
  56. Some will find it offensive, immoral, irresponsible--a highly defensible position. It's also very funny, a thing of twisted genius and, for the next eight weeks possibly the most original comedy on television.
  57. This is that rare series about kids that is written by people you can envision actually having been kids. [11 Oct 1990]
    • Los Angeles Times
  58. It's very good, although as sad and disturbing as the mustache implies.
  59. Terriers is a wonderfully well-conceived, well-made and well-played series about a pair of soft-boiled downmarket private detectives in over their heads in San Diego.
  60. A clever and rewarding Man of Steel remake that zooms across the airwaves faster than a speeding bullet.
  61. Thematically ambitious with a strong and nuanced cast, Being Mary Jane, which stars Gabrielle Union, combines daytime television talking points with cable-worthy character depth.
  62. For all the switchback plotting, the sudden revelations that bring some earlier plot or plotline to naught, the show never feels too obviously manipulative or out of control. This is in part because of the restrained way it's shot and acted.
  63. 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.
  64. For as long as it has, 12 Monkeys works beautifully as a fast-paced sci-fi thriller that is actually far more complex.
  65. It's a solid enough formula, and if the writers have overly epic ambitions, they also have a collective eye for detail.
  66. It clips along in leaps and bounds, and the speed at which events occur can make them seem dramatically obvious, more declared than developed. Much of the time you don't feel the characters' pain so much as take it as read. But the key moments of spiritual revelation are handled well and the production gains power in the home stretch, just where you want power gained.
  67. Though firmly in the Lucas tradition, this is also a Disney cartoon, for a Disney crowd and a Disney corporation--watching, you can almost feel the plastic and the plush--and whatever the characters are up to, however cute or sentimental the business, it is smartly designed and cinematically staged, and not hard to enjoy.
  68. [Scott Alexander and Larry Karaszewski] and their fellow writers do a good job getting the information out, (mostly) without making the dialogue too obviously expository; it happens at times, but it almost can't be helped. As producer and sometimes director, Murphy keeps the production pretty level-headed-- not documentary naturalism, exactly, but close enough for respect.
  69. It's fresh, invigorating and one of the true highlights of the new season. ... Even without the score and choreography, "Cop Rock" is a compelling, well-acted police series that indeed does (as some of its critics charge) echo Bochco's late, great "Hill Street Blues," almost as if he meant it as a homage to his own work.
  70. The series opens with an episode so nuanced and thoughtful, so quietly moving and genuine, it's almost impossible to believe it is made by many of the same people who helped build a family empire off the infamy of a young woman's sex tape.
  71. Best of all, Supergirl is just great television. Even those suffering from mild-to-severe super-hero fatigue will be instantly charmed by Benoist's initially uncertain Kara Zor-El and the slick and witty world Greg Berlanti has created for her.
  72. They all dance and throw punches in a script fast-paced and brimming with literate wit.
  73. Held together almost entirely by Cranston’s performance, All the Way seems at times intentionally counter-intuitive; so much of the story’s advancement depends on deals that no one feels really great about that it’s hard to find the kind of catharsis many expect from these sorts of films.
  74. Rick Beyer's fascinating, detailed and oddly delightful account of the World War II military camouflage artists whose job was not to hide men and materiel but to create battalions where none actually existed, drawing German eyes and ears to the wrong place.
  75. It’s a professionalized version of Rae's homely original that maintains her voice while sharpening everything that surrounds and supports it.
  76. Destitution has never been quite as appealing as it is in The Durrells in Corfu, the latest slice of picturesque Anglophilia from “Masterpiece.” The six-episode series is escapist entertainment in the most literal sense.
  77. 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.
  78. Berlin Station is a tense, terse thriller--good-looking but never fussy, balancing character and plot in satisfying proportions, a new suit cut to classic lines.
  79. That the two men are in their 30s makes their perseverance more poignant--to somewhat overstate the case--and that they have no money places them in a long and honorable line of comedians who cannot put two cents together to buy a glass of seltzer.
  80. If the targets and tone of her comedy were clearly flavored by her “Daily Show” roots, Bee’s voice is completely her own.... The only bad thing about the premier of Full Frontal was its brevity.
  81. The only major kink in Northern Exposure is its tendency to have Fleischman and the others expose their flaws only to finish each episode by doing the good and right thing, as if guided by some invisible magic wand. Otherwise, this is magical stuff that deserves a permanent spot on the CBS schedule. [12 July 1990, p.10]
    • Los Angeles Times
  82. It does not go deep. And yet in its moments, Graves can be quite persuasive, even moving. (It can be corny too, but corn can work.) Growling and grumbling like a spokesperson for phlegm as he takes Graves from childishness to youthfulness, Nolte finds everything touching in his character, and makes you feel it too.
  83. Despite a bizarre courtroom sequence that strains credibility early in the episode, this is a very good start for Special Victims Unit, which promises to be a solid cop drama capable of occasionally stretching toward greatness.
  84. Murder in the First, a masterfully paced balance of tricky whodunit and character development, seems to have benefited from both Bochco's hits and the misses, as well as the cable-led experimentation with shorter seasons.
  85. With the rest of the cast hitting the same high notes as Margulies and the script, The Good Wife promises to be that Holy Grail of television: a good criminal procedural that barely disguises the insightful, multilayered human drama that lies beneath.
  86. An emotional, necessarily freaky but surprisingly logical and altogether satisfying story and, one hopes, a reset for future seasons.
  87. Though his [Carlton Cuse's] version is not quite as eerie and enigmatic as the French version, it's still pretty dang eerie and enigmatic, particularly for those watching the story unfold for the first time.
  88. Dexter is a weekly marvel of writing, acting and conceit.
  89. Given a boatload of fine performances and an attractive milieu, it remains very much worth watching even when it feels like the writers are depending on your inattention or forcing their characters to act improbably in the service of a puzzle-plot that at times feels held together with string and tape and white glue.
  90. The leads are all marvelous, with a complementary elemental division of attitudes: Kemper, air; Burrell, fire; Kane, earth; and Krakowski, water, as I reckon it. They rise to the occasion and make it an event.
  91. The first episode took a little while to seem real, but, as Holder would say, I was feeling it before long. Like Linden, I was drawn back in.
  92. An amusing, highly promising light drama from the WB about mother-daughter bonding that is tender, warm and loving in a natural way without heaping on the schmaltz. [4 Oct 2000, p.F1]
    • Los Angeles Times
  93. 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.
  94. Bel and her staff are no longer young Turks shaking up the fusty old BBC; now they are, for better or worse, part of the mainstream news media, forced to question their own motivations as well as those of the Establishment. In the first two episodes anyway, this makes for a more sophisticated storytelling, a drama of adults who must take responsibility for decisions of the mind as well as the heart.
  95. 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.
  96. You will laugh, you will cry and if it seems a bit treacly, it is.
  97. It is funny and disturbing in exactly the manner and proportions one would expect from his earlier works.
  98. Certainly Fellowes has developed a formula. A solid, dependable and successful formula, with "dependable" being just a few shades warmer than "predictable."
  99. Grounded in parental reality, it's funny and promises to be funnier. The characters, though presented in very broad strokes, have lots of room for shading.
  100. McKenzie's best moments are all spent in his [new partner Harvey Bullock's (Donal Logue)] company. Bullock loosens him up even as Bullock puts him off, signaling that their uneasy partnership will become an easier one. He performs a similar service to the whole production, bringing it down to earth, keeping it from becoming too much of a comic-book gizmo with its wash of rain grays and rot rusts and spittoon bronzes and Frank Miller lighting effects.

Top Trailers