Los Angeles Times' Scores

For 1,095 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 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Alias: Season 1
Lowest review score: 0 Cavemen: Season 1
Score distribution:
  1. Mixed: 0 out of 584
  2. Negative: 0 out of 584
584 tv reviews
  1. True Detective runs slow and steady without ever seeming to drag. Even minor characters get room to breathe, and seem independently alive; the briefest scenes seem to imply life beyond the frame.... The dance [Matthew McConaughey and Woody Harrelson] do together here is work of a very high order, and all the reason you need to watch.
  2. 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.
  3. The acting is sublime, the writing wicked sharp, the sets and camera work astonishing, and in terms of ambition, be it narrative, creative, logistical or geographic, no other series comes close.
  4. Neither prequel, sequel or remake, this Fargo is instead a tonal accompaniment, a little more than kin, a little less than kind and a whole new breed of television.
  5. Deliciously funny satirical gore. [10 Mar 1997, p.F1]
  6. Great stuff. Not a perfect strike, but close. [7 Oct 2000, p.F1]
  7. The sexy, urbane Friends -- from Marta Kauffman, David Crane and Kevin Bright, the people responsible for the HBO super-comedy "Dream On" -- starts fairly strongly tonight, improves next Thursday and in week three gets on a grand, hilarious, rip-roaring roll. It's the perfect series to bridge "Mad About You" and "Seinfeld." [22 Sept 1994, p.F1]
  8. Not only does The Golden Girls offer meaningful portrayals of women in their post-middle-age years, but, as a bonus, it's one of those TV rarities, a comedy that's funny. Very funny. [13 Sept 1985, p.C1]
    • 80 Metascore
    • 90 Critic Score
    The cast is fine and Steve Miner directs with sensitivity. There's real poignancy in the last scene between Savage and McKellar. It's a refreshingly gutsy half-hour, a look back at how things were -- and weren't. [31 Jan 1988, p.C-13]
  9. Real talk shows should be as acutely funny.
  10. As always, the acting is so artfully straight-faced and the scripts so full of in-the-know nuance that "The Larry Sanders Show" seems to reek of behind-the-scenes television reality.
  11. Spin City just happens to be very funny. [17 Sept 1996, p.F1]
  12. Among the most gratifying and promising new series of the fall season. [29 Sept 1998, p.F1]
  13. The thing about "The Sopranos" is that strands of character detail -- Carmela Soprano's fingernails, the way Tony breathes through his nose when he eats -- stay with you long after you've forgotten whose cut of a garbage route has precipitated a beef between which wiseguys.
  14. Yet another of fall's superior new dramas. Devoid of caricatures, this one is by far the best-ever TV depiction of the big fellow, framing him nicely as part of a coming-of-age story and treatise on little town America, before he moves to Metropolis and becomes Christopher Reeve. [16 Oct 2001, p.C1]
  15. 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.
  16. Although the humor begins broadly, it grows on you as you adjust to its rhythms, and ultimately you hear yourself laughing out loud. This is easily NBC's best new series. It's also one of those distinctive comedies in which everything meshes. [2 Oct 2001, p.C2]
  17. The lingering concussion of Sept. 11 does nothing to undermine Fox's new thriller focusing on terrorism. Instead, it adds to its credibility and makes it all the more gripping. [6 Nov 2001]
  18. This Sense and Sensibility is truer not only to Austen's narrative, it more successfully captures the quiet precision of her singular mind--she was the master of finding poetry in domestic detail, and for that, the small screen is much better suited than the large.
  19. A scorching look at the drug trade in a Baltimore housing project through the eyes of mid-level dealers and police. [31 May 2002, p.C1]
  20. 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]
  21. Deadwood is engrossing, refreshingly well written and oddly relevant. [15 Mar 2004, p.E1]
  22. For all its willful outrageousness, Arrested Development is sort of gripping -- a continuing story that one actually wants to see continue, which is more than can be said of most of the new dramas the season produced. [31 Oct 2003, p.E1]
  23. "Weeds" is odder, darker and more suspenseful than ever.
  24. At once more modest and more ambitious than its predecessor; more focused on detail and yet more expansive. It is also excruciatingly funny, with an emphasis on excruciating.
  25. 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.
  26. The domestic version... is every bit as good as the original.
  27. In its emphasis on character over plot it reminds me of movies from the pre-Spielberg '70s, and is in so many ways what I want from television that I feel almost like phoning each of you personally to deliver the news.
  28. 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.
  29. What is remarkable about "Life Support" is how it avoids every pitfall of the standard issue-based TV film and, indeed, of most TV films, period.