Los Angeles Times' Scores

For 1,264 reviews, this publication has graded:
  • 52% higher than the average critic
  • 4% 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 Trip to Bountiful
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Mixed: 0 out of 663
  2. Negative: 0 out of 663
663 tv reviews
  1. Pope is a likeable woman, smart and sensible. Although the Difficult Boss is a common feature of Bravo series, by network standards she is egoless as the Buddha. Indeed, as a protector of the almost-born from the fuzzy thinking and distracted inattention of their parents, she is a bastion of perspective.
  2. I can't say I found much of Workaholics especially funny, but neither do I have it in my heart to hate it. On a craft level, it's very nicely made, the actors are weirdly appealing, and its spirit is not mean, but sweet.
  3. Crimson Petal could lose an hour without sacrificing a single scene or word of dialogue, and it would still seem slow and moody.
  4. Too Big to Fail is pretty consistent low-key entertainment if not exactly enlightening (because it is an impersonation of the truth) or gripping (because we already know how it sort of ends).
  5. With any luck, subsequent episodes will find a sharper, cleaner stride. All the elements are there, it's just the alchemy that seems a bit off.
  6. Skidding through twists and turns aplenty, the intentionally soapy plot generates a lot of fun froth, but Gellar has a hard time playing one troubled and complicated woman, much less two.
  7. All of which adds up to a nice, moody, entertaining-enough hour and the troublesome question of how interesting this will be by the third episode.
  8. American Horror Story is a big ol' brooding, baffling, ridiculous and occasionally compelling mess of a show.
  9. Still, for all the unlikely things the Gaytons make happen in order to get their characters into place, and the dogged refusal of a couple of those characters to become interesting at all, the show gathers steam as it goes on.
  10. None of the characters--including the usual smart hot girl, mean hot girl and mean hot guy--range beyond well-established types, and the show would have to stand on a chair to aim any lower. But it is mostly sweet-tempered and oddly moral, and, as I write these words, I do not hate it.
  11. A cleverly conceived, at times visually lovely, but criminally long imagining of how Peter became Pan.
  12. This Napoleon Dynamite is all go, go, go, racing, if nothing else, to keep pace with the host of other animated prime-time shows it joins.
  13. It is nowhere near as smart as "White Collar" or as strangely touching as "Necessary Roughness" and seems content to hit well-worn marks, though more than occasionally with welcome style.
  14. New show runner Joshua Safran has, in any case, declared himself a fan of the show, promising changes more surgical than wholesale, a promise disappointing in its way. Nevertheless, he has trimmed much deadwood.
  15. The crimes of the first four episodes revel in plot twists and medical conditions so ludicrous that they eventually become endearing, as does, against all odds, McCormack's performance.
  16. Much about the pilot felt flat or programmatic to me, but much was likable as well, especially the nonchalant tenderness between the male leads. And the cast is good.
  17. Whatever else you make of it--and it's enough to say that if you like this sort of thing, you will like this thing--it's all, or partly, for a good cause.
  18. Despite the frantic and at times clunky initial execution, there are times when The Mob Doctor shows signs of transcending the typical doc-with-something-extra medical procedural.
  19. Created by Dan Fogelman it is enjoyable if not impressive--not bad, and almost good.
  20. Though it is flat and obvious at times, and some might call it ill-paced--I think of it as leisurely--it is only a little sanctimonious and not at all stuffed.
  21. [Scott Baio's] naturally relaxed presence mitigates the show's more hectic leanings.
  22. The celebration and surrender are enough to put the viewer in a vicarious good mood, no matter how unconvincing its context.
  23. There are enough interesting ideas inherent in the material to warrant giving The Americans a chance, and interesting enough ideas that one wishes a little more attention were being paid to them, and a little less to the usual spy-jinks.
  24. As drama, it's uneven, often cliched, even silly, but, like the store in which it's set--and whose ground floor, mezzanine and facade have been splendidly re-created--so variously stocked that you will likely find something here to take home.
  25. Every pilot is burdened with establishing character, jump-starting the narrative and hooking the audience, but Under the Dome unnecessarily force-feeds us its first hour to its own detriment.... Which isn't to say Under the Dome won't wind up being fun to watch. All of the performances seem promising.
  26. Bogged down at times by moody re-creations (often unforgivably accompanied by the strains of a muted trumpet) and endless footage of Bin Laden, Manhunt is not a definitive telling either. Indeed, its strength lies in its awareness that there is no way to completely tell this particular story.
  27. It is buried in whimsicality and paeans to "feeling" and leaping into the void. And the stars do feel out of sync. (Williams is more comfortable riffing with James Wolk--"Mad Men's" Bob Benson--as... some other guy who works there.) We will give it some time.
  28. It has its good points and its less good points, but there's enough of the former to merit a look.
  29. A cynic might think Twisted is a bald attempt to capitalize on the success of "Pretty Little Liars" while possibly adding a Y chromosome to the mix. The non-cynic might see in Danny yet another metaphor for the alienation and "otherness" many teens feel.
  30. Most of what doesn't work in the pilot happens when the production strives for a big effect or grand stroke, while all of what works best happens in the close space between the leads.

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