Los Angeles Times' Scores

For 1,291 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 3.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Behind the Candelabra
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 681
  2. Negative: 0 out of 681
681 tv reviews
  1. Dane is fine and steady center for the drama; his Chandler can handle banter, bathos (Chandler left a wife and kids behind in the now plague-decimated States) and blather (some of the dialogue is less written than forked out of a can).... Still, The Last Ship seems determined to put concept before character, which is a much bigger problem on television than it is on film.
  2. Early Firefly lacks majesty, and also that its laborious pace is hardly Star Warsian. [20 Sept 2002, p.C1]
    • Los Angeles Times
  3. Neither a disaster nor a triumph.
  4. Such a concept seem ripe with delicious possibility. The show, unfortunately, is not. Played out as a cop procedural, it has a predictable narrative structure that at times resembles nothing so much as a prison.
  5. It's an enigma, at the very least uneven.
  6. The pilot has a "Steel Magnolias" feel to it: Too many stars, too many faces, too many names, a cornucopia of character business.
  7. The only experiment actually being done here is the ongoing one of determining just how long people will watch this sort of thing. That is an experiment with no end in sight.
  8. While there's nothing particularly wrong with Do Not Disturb, neither is there anything so inspired as to make you leap to your feet, crying, "Yes! This is what television needs! More workplace comedies! More hotels!"
  9. The historical documentaries are more successful than the cultural ones, for having a better story to tell, but all are made in a similar style, without written narration, driven by news clips and interviews (with scholars, participants and celebrity rememberers, Hanks naturally included).
  10. By pilot's end, the tension level is more "Parenthood" than "Homeland."
  11. While there are many reasons to like Taxi Brooklyn, including and especially its two fresh and likable leads, it too often wobbles and stalls, unwilling to commit to one type of storytelling or the other.
  12. It is easy to buy [Heigl] in these more casual moments, especially given quiet, excellent support by Sheila Vand, Cliff Chamberlain and Tommy Savas as her fellow (though hierarchically inferior) co-analysts.... [But] The more amped-up the action and the more tangled the weave of its web is revealed to be, the more hilarious State of Affairs becomes.
  13. Rosemary's Baby is not terrible. Where the original film was shocking, this version, though bloody, is fairly mild.
  14. Oft-funny but problematic. ... {The] humor ranges from inspired to cheap and sophomoric. [29 Jan 1999]
    • Los Angeles Times
  15. 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.
  16. Almost from the get-go there's far more galumphing than trotting going on, and not all of it done by prehistoric feet. Things pick up in the third episode and there are dodos in the fourth, but it's not enough, no, not nearly enough.
  17. The film as a whole is a strange case of mostly excellent parts that make an overlong and tedious whole.
  18. The trouble with Feresten isn't his comedy; it's his difficulty creating any intimacy with the audience or the camera. He's got the irony down cold but the empathy not so much.
  19. It was [creators Burnett and Beckerman's] style on "Ed" to be too cutesy by half, and so here
  20. It's quite a cast and a good thing too, considering the almost uniformly absurd character types they miraculously manage to animate.
  21. There are legitimately chilling, funny and suspenseful moments in the early episodes of "Happy Town," but the many fine performances are battered to death by a welter of plot twists and cheesy revelations that come speeding out of the sky like those murderous crows in "The Birds."
  22. Despite chuckles here and there, the special's sensibility will probably hold more appeal for viewers closer to Murray's age than the boys and girls looking for something to watch and re-watch.
  23. As a professionally discerning adult, I could not help but notice that the characters are fairly stock, the situations familiar and, some nifty digital backgrounds notwithstanding, the production continually felt more like an elaborate game of let's pretend than it did a window into some real other world. I didn't buy a second of it.
  24. The deal you make with a series like this is, if it doesn't ask too much of you, you won't ask too much of it.
  25. Every so often the production does wake up, with a sudden brawl or assassination attempt--these scenes at least have energy and sometimes emotion--before settling back into a state of mildly agitated, interwoven intrigue.
  26. There is a professional, even a grim efficiency to the jokes.... There are breast jokes, genital jokes, a long oral sex joke, an alcoholic-sorority-girl-defecating-in-a-closet joke. A few hit, many miss.
  27. Swingtown walks a fine line between being a period piece, down to the pudding cups, baseball shirts and snatches of the old "$10,000 Pyramid," and parody.
  28. It's a somber, often leaden affair, beset with stiff dialogue.
  29. It is not the show for which Lucas and Walliams will be remembered; it is more amusing than hilarious, and at times not funny at all. But fans should be fitfully rewarded.
  30. Survivors is torn between the desire to go big--it's the literal end of civilization--and small--how would an ordinary person react to the death of everyone he knows? Regrettably Survivors succeeds at neither, getting stuck instead in a blurry bog of middle ground.

Top Trailers