Los Angeles Times' Scores

For 1,360 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 Downton Abbey: Season 1
Lowest review score: 0 Cavemen: Season 1
Score distribution:
  1. Mixed: 0 out of 722
  2. Negative: 0 out of 722
722 tv reviews
  1. The heroine's fearless and clever character, the self-knowledge and self-possession her tormentors lack, and her gift for survival are fixed from first to last. She is sometimes thwarted but never altered. If this makes The Book of Negroes less psychologically complex than it otherwise might be, there are real pleasures and comforts to be had from it.
  2. For all its moments of poetry and insight, Mad Men too often feels less like a drama and more like the staging of a really good master's thesis.
  3. Although Romano is the keystone of the group, it is very much an ensemble drama buoyed by writing that protects the characters from the perils of self-pity and self-indulgence with quick and gentle humor and plot points that capture the forces a middle-aged, middle-class man might actually battle.
  4. Berman produces a deft juggling trick of heart and humor, balancing Deb's shallowness with some solid common sense and Jane's inadequate self-esteem with kindness and legal brilliance.
  5. The Casual Vacancy is a heartbreaking, thought-provoking if occasionally simplistic look at the tyrannical power of the picturesque.
  6. In the wonderful Family Tree, hangdog Chris O'Dowd, finding his life stalled after losing a girlfriend and a job in short order, goes in search of his roots and relatives.
  7. The first episode may be a bit rocky in the beginning, what with the reintroduction of characters and story lines, but the second season of Damages promises to be even better than the first.
  8. Fortitude's only safety net is a cat's cradle of inter-linked, understated and strangely powerful performances.
  9. In Season 2 the issues and tensions remain the same, but perfectly dialed up a notch or two.
  10. It's possible that, barring a confession, you will come to the end of The Jinx unsatisfied, wondering how it was you spent six unreclaimable hours in the company of a person you have decided is a creep. Either way, it's fascinating as it gets there.
  11. Wolf Hall is both stately and fast-moving, exceedingly still yet highly suspenseful.... Though the series comes to a natural stopping place, it also feels, at the finish, incomplete.
  12. All the performers use the documentary setup to their best advantage, shooting the omnipresent camera knowing, comical and anguished glances, and generally treating it as if it were another character.
  13. Viewers will come to see Deschanel but they'll stay for the whole package because smart writing, confident timing and characters that are both familiar yet surprisingly fresh make New Girl the most promising comedy, and one of the most promising shows, of the season.
  14. Nashville is big, bold, wildly ambitious and great fun, with top notes of Robert Altman's "Nashville," "Cat on a Hot Tin Roof" and "All About Eve."
  15. Despite this silly and derivative setup, the pilot is actually a lot of fun. The performances are uniformly good and there are moments of promising depth to balance all the peppy hair-swinging, abs-flexing dance numbers.
  16. This year, by contrast [to last year], the drama flows more naturally; it cuts closer to home, and nearer the bone, allowing Smith and McGovern, particularly, deeper material than has previously been their portion
    • Los Angeles Times
  17. If the rest of the series is as good as the two episodes released early for review (the fact that Netflix made only the episodes directed by Fincher available is slightly worrisome), House of Cards will in all probability become the first nontelevised television show to receive an Emmy nomination, or four.... [However,] not everything in House of Cards lives up to the standard set by its leads; for all its cutting-edge delivery system, it is at times surprisingly pat.
    • 53 Metascore
    • 80 Critic Score
    To say that Tin Man is not as good as its near-perfect models is not to damn it, even faintly. Like Sci Fi's "Flash Gordon" update--which the Halmis also produce and which it resembles far more than it does "The Wizard of Oz"-- it's a good-looking, entertaining fantasy adventure, with a cast that is easy to spend time with.
  18. As before there is a nice balance between social drama and personal business, the tragic and the comic, exaggeration and authenticity.
  19. But of what actually happens, I will say no more. You'll have to watch it yourself. And you should.
  20. It is a sweet, rather sad piece that--like the songs, by Whedon and his brother Jed, which are at once mock-heroic and actually heroic, mock-moving and moving in fact--works both as parody and as a drama. It also works as comedy, from line to line and moment to moment, but it is not, really, a comedy
  21. It's a highly satisfying riff on the original work, as well as a credit to the modern British costume drama.
  22. Gossip Girl is eye candy, and mind candy, as pretty as a perfectly prepared martini--one that some nasty, picture-perfect have-it-all may or may not have drugged.
  23. Delightful new science-fiction comedy.... Like candy, it is sweet, and sometimes sticky or nutty or surprising.
  24. For a program known for its harum-scarum pace and keep-up-or-shut-up iconography, the Season 8 Saturday premiere of BBC America's Doctor Who opens slowly--even with the T. rex--and radiates a newly modern self-consciousness, albeit dressed in Victorian garb.
  25. You either like Odenkirk's nervy, nervous and surprisingly soulful performance or you don't--and it's pretty hard not to like.
  26. Serious without being grim, uplifting without being saccharine, Falling Skies dares to image what feature films will not--a world in which Will Smith or Aaron Eckhart did not bring down the mother ship in time.
  27. Though it has the pokey pace and flat affect of his other films--for Burns, history is elegy--it is also one of his best works: more tightly focused than usual in time and place, with a clear shape, dramatic arcs and a conclusion that is at once cautionary and moving, topical and timeless.
  28. Outsourced seems to me the most deftly realized sitcom of the new season. It is no closer to reality than any of its Thursday night neighbors ( Ken Kwapis, of "The Office" and other good things, developed it and directed the pilot), but it has a top-flight cast, characters who show you who they are rather than telling you, smart writing, sure rhythms and a cheerful attitude.
  29. Using film instead of videotape gives Baby Boom an elegant, cinematic texture that visually separates it from most TV comedies. But it's the smart, amusing script by the co-executive producers, Shyer's direction (the pilot is so fast-paced that you get the feeling he used a bullwhip) and Jackson's appealing mix of ambition and vulnerability as J.C. Wiattthat give this early sampling of Baby Boom its main charm.

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