Los Angeles Times' Scores

For 1,533 reviews, this publication has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 3.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 The Larry Sanders Show: Season 5
Lowest review score: 0 America's Funniest Home Videos: Season 1
Score distribution:
  1. Mixed: 0 out of 818
  2. Negative: 0 out of 818
818 tv reviews
  1. It is, it really is, just as magnificent, powerful and enthralling as you would imagine.
  2. A striking six-week miniseries delivering one of the rawest, truest, most provocative and involving dramas ever beamed to Americans. And one of the most important, defining a seedy, destructive junkie subculture in vivid, aching detail in the tradition of such theatrical films as "Panic in Needle Park," "Drugstore Cowboy" and "Trainspotting." [14 Apr 2000, p.F1]
    • Los Angeles Times
  3. As did the six previous episodes, the new installments generate a tension so awful, from circumstances so awfully lifelike, that you have to watch at times from behind laced fingers, with teeth clenched and the remote control close at hand.
  4. If its premiere epitomizes what's ahead, Steven Bochco's intense legal drama Murder One will be the best new series of the fall season. Period. Case closed. Jury dismissed with thanks...With "Hill Street Blues," "L.A. Law" and "NYPD Blue" already heading his resume, Murder One is quintessential Bochco, a well-acted, smartly written, meticulously presented hour that turns the law inside out while telling a good story that makes you feel like you're spying on these people through a peephole. Created by Bochco, Charles H. Eglee and Channing Gibson, it has that irresistible thing that identifies a series as a creative success: You can't wait for it to return.
  5. It's high-pitched, unforgettable, knockout, electrifying TV...There should be a law requiring more series like NBC's new L.A. Law. [15 Sept 1986, p.C1]
    • Los Angeles Times
  6. If there's a better written, better acted, more originally conceived show on television, I defy you to name it.
  7. It's an exquisitely rendered and masterfully acted film on Lifetime.... Underwood and Williams are eloquent and fine, but this is Carrie's story. With her shining ageless eyes and effortless physical grace, Tyson is quietly but relentlessly hypnotic in all she does.
  8. None of Undeclared feels forced, and it helps enormously that the cast looks like it belongs, the actors fitting their environment perfectly. [25 Sept 2001, p.C6]
    • Los Angeles Times
  9. Though some of the visual cues will be very familiar to fans of "Lord of the Rings" or even "The Tudors," Game of Thrones quickly finds that rare alchemy of action, motivation and explanation, proving, once again, that the epic mythology remains the Holy Grail of almost any medium.
  10. It is a moment of fury and grace and wonder that this Heart, in which a brutally specific story is deftly re-tailored for another medium and time, loses none of its original passion or pointedness.
  11. It is cheerful, dark, surreal, profane, aspirational, meta-fictional and packed with people playing versions of themselves or other people entirely (or playing versions of themselves playing other people entirely); it plays with visual and verbal puns, with moods and acting styles and moves around in time and dimension. And while these are elements of many modern comedies--it owes something to "It's Garry Shandling's Show," "Curb Your Enthusiasm," "30 Rock," "The Sarah Silverman Program," Hurwitz's "Arrested Development" and the cracked spirit of Adult Swim--I have never seen them assembled in quite this way, or with quite so much gusto.
  12. May be the best-ever film depiction of war in the trenches, large screen or small, and TV's loftiest miniseries since the Brits sent over "The Jewel in the Crown" in 1984. Give Band of Brothers a medal. [7 Sept 2001, p.C1]
    • Los Angeles Times
  13. It integrates the boredom, self-delusion, dashed hopes and struggle for power into something bigger, and potentially better, and functions not only as a continuation of the story but a convincing conclusion.
  14. Each [episode] stands on its own as a TV art film, an independent work of short fiction.
  15. One of the season's most promising new series.
  16. Beneath the twists and turns of Orphan Black's increasingly deep and vivid story lines lie the even more basic theme of revelation: How would you react if you discovered that what you had come to know as your life was based on misinformation.... From the space between wreckage and rebuilding comes much of our great literature, music and art. And now, Orphan Black.
  17. It's a funny show, fundamentally, but not always, by intention. Not everything works, or works equally well; like Louie, Louis is only human.... Louie is a thought process made flesh.
  18. Deliciously funny satirical gore. [10 Mar 1997, p.F1]
    • Los Angeles Times
  19. Surviving Jack is terrific. Funny and smart, poignant and believable, it is undoubtedly the best new comedy of the season.
  20. Although the characters' coarseness is matched only by the somehow appropriate crudeness of Judge's rudimentary animation, Beavis and Butt-head are simply too exquisitely absurd and vacuous to be resisted.
    • tbd Metascore
    • 90 Critic Score
    "Mr. Show" offers up a mad world of silliness and satire that recalls the heyday of Monty Python. ... No convention is left untrammeled, no target left unskewered. And, perhaps most remarkable given the recent spate of less-than-hilarious sketch shows, hardly a moment of the show is left unfunny.
  21. Spin City just happens to be very funny. [17 Sept 1996, p.F1]
    • Los Angeles Times
  22. Haynes has created not only a rich and nuanced vehicle for his A-list cast--among them Kate Winslet, Evan Rachel Wood and Guy Pearce--he has given us a rare and valuable gift: an American melodrama about class.
  23. 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
  24. It is, to put it bluntly, a cast to die for. Each story line is well-drawn and compelling and each subtly represents a thread of Paul's own issues that come together in Gina's office even more effectively, if a bit more sentimentally, than they did last season.
  25. It's a dark and astonishing gem of a show, with a bravely skillful cast juggling the petty obsessions of the workplace with Much Bigger Issues.
  26. 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
  27. With its frank examination of race, gender and class, American Crime is the more thematically provocative show, a gratifying breakthrough for television and a truly golden child of the age.
  28. In the run-up to the show it all sounded a bit hard to get your head around, but in the flesh the show zinged, at least this first week.
  29. Mad Men has found a strange and lovely space between nostalgia and political correctness and filled it with interesting people, all of them armed with great powers of seduction.

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