Los Angeles Times' Scores

For 1,188 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 3.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Homeland: Season 1
Lowest review score: 0 America's Funniest Home Videos: Season 1
Score distribution:
  1. Mixed: 0 out of 621
  2. Negative: 0 out of 621
621 tv reviews
  1. There is much to like and learn from the miniseries. Alas, executive producer Stephen David and his creative team seem intent on getting in their own way, cluttering up the inevitably fascinating narrative (offered here by Jeremy Renner) with all manner of clunky historical reenactments, hyperbolic characterizations and a soundtrack that should be shot for treason.
  2. Potts has some nice moments. Even an actress as able as she, though, ultimately buckles under the tonnage of this character's supremacy, and strong supporting work from Greg Serano, Tamala Jones and Vicellous Reon Shannon as the students she takes under her wing is not enough to shore her up. [30 Sept 1996, p.F10]
  3. When it's not being completely ridiculous, Chasing Life is very good.
  4. A more than occasionally funny show in which Gabi (Emily Osment), an appealing but financially challenged food blogger, becomes personal chef to Josh (Jonathan Sadowski), an appealing but romantically challenged tech-ionaire.
  5. The premiere has a nice look, and its "Rashomon"-style flashbacks are very well shot. It also features a socko ending and one ingenious bit of plotting involving thieving hookers. Yet the storytelling is often muddy, and sorting out characters and determining who does what is more of a challenge than the episode is worth. [6 Oct 2000, p.F1]
  6. It's an enigma, at the very least uneven.
  7. Watchable but disappointing. [21 Sept 1993, p.F1]
  8. This split-personality series that speaks with two voices: one thoughtful and intelligent, the louder one glib and derivative. [29 Sept 1999, p.F6]
  9. Glimmers of good acting peep through this maze of melodrama. Yet "St. Elsewhere" practiced more interesting medicine, and Kelley's Emmy-laden "Picket Fences" is bolder and more likable. More significant, so is "ER."
  10. Oft-funny but problematic. ... {The] humor ranges from inspired to cheap and sophomoric. [29 Jan 1999]
  11. The best thing Criminal Intent did was dump its low-brow, lower-IQ pilot. What remains, though, is routine at best, the violent master criminal planning a million-dollar diamond heist in the premiere naturally proving no match for the brilliant, X-ray-sighted Goren.
  12. What it all adds up to tonight, unfortunately, is something akin to a very slow camel or burro ride across long stretches of arid desert. There's dialogue galore, but comparatively little action and virtually no suspense.
  13. More often than not, however, most of the laughs are junior too.
  14. Early Firefly lacks majesty, and also that its laborious pace is hardly Star Warsian. [20 Sept 2002, p.C1]
  15. Everwood has much going against it, most notably an absence of subtlety that undermines Brown and others. He is so arrogant and smug (with a bedside manner bordering on the smarmy) that he's likable only compared with his conveniently snotty and mean-spirited rival. It's a stretch, by the way, that Abbott would be the only doctor in this rather cosmopolitan hamlet of 9,000 prior to Brown's arrival. [16 Sept 2002, p.C1]
  16. Leno's got his desk, he's got his guests and no one expects him to do anything but what he's done for so many years: protect the "Tonight Show" franchise. After all that has happened, that may or may not be enough.
    • 33 Metascore
    • 50 Critic Score
    The cheese factor is undeniable, but The Bachelor makes a connection with its audience beyond the vicarious thrill. [25 Mar 2002, p.C20]
  17. Where once Nip/Tuck crackled, it now whines and sighs; where once it shocked, it now plays nice.
  18. Though Baron Cohen is clever and amusing and quick on his feet, his humor boils down to a few endlessly repeated gambits: malapropisms, misunderstandings, and outrageousness in the guise of innocence. [17 July 2004, p.13]
  19. It is, to be fair, watchable enough, if watched uncritically, and not without flashes of high craft; art and inspiration are a little beyond its grasp. [3 Jan 2005]
  20. It's "Desperate Housewives" all over again -- the whodunit overlaid by a titillating comedy of shame-based suburban manners and shame-based depravity, the word "bitch" used scandalously. [24 Sep 2006]
  21. All of the wives are more interesting than their husband. Paxton's character remains a problem for me and, as the pole on which this tent depends, a crucial one.
  22. I suppose there are women in the world as empty as the instantly beddable Maxim babes the producers habitually drape around their boys, but it would help to give them even something stupid to say -- it strikes a wrong note, this neo-retro sexism, even if it accurately reflects the world view of the characters or, indeed, their actual world. It's a failing that even the presence of Debi Mazar (great, as always) as Vince's publicist and the intriguing Samaire Armstrong (from "The O.C.") as Eric's budding love interest does not redeem. [17 July 2004, p.E1]
  23. Though the TV version catches some of the tone and replicates the topicality of the big-screen originals, and shares executive producers, it lacks their grounded reality -- not too surprising, really, for a work of fiction based on a work of fiction -- as well as their warmth. [12 Aug 2005, p.E2]
  24. Although we are meant to regard its dishonest protagonists as the epitome of contemporary cool, they come off as self-satisfied and pretentious.
  25. Polished and lively, it is also simplistic, melodramatic and half-baked — though it clips along nicely enough that you may not notice.
  26. The comedy equivalent of low-hanging fruit. [3 June 2005, p.E1]
  27. [Gilbert] seems like a real person, even in such a cartoon as this is.
  28. That the story... snakes around a lot, tossing supernatural red herrings in its wake, keeps it oddly compelling, even as it grows increasingly preposterous, not only as regards the supernatural but as to how people really act.
  29. "Threshold" is a comic book, and passable as such.

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