Los Angeles Times' Scores

For 1,800 reviews, this publication has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 2.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Samurai Jack: Season 5
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 1003
  2. Negative: 0 out of 1003
1003 tv reviews
  1. It’s a professionalized version of Rae's homely original that maintains her voice while sharpening everything that surrounds and supports it.
  2. The Trade is a reminder that the people who are caught up in this world are only human; it encourages empathy. Much of what is most affecting in The Trade are the small human details--a Christmas tree in a drug dealer's house, the childhood pictures on a refrigerator door of a son or daughter lost to dope, a police detective rubbing the neck of a frustrated partner. The film is in letter-boxed widescreen for maximum cinematic effect--the photography is handsome without making things too pretty.
  3. Watchable but disappointing. [21 Sept 1993, p.F1]
    • Los Angeles Times
  4. Despite its equivocal title, Almost the Truth beats any Python documentary yet made for comprehensiveness and depth.
  5. Silicon Valley is a comedy, certainly, and a very funny one, but it doesn't spend all its time reminding you of the fact.
  6. In recent months, star Denis Leary and his co-creator/producer Peter Tolan have repeatedly promised a different show, one less bleak and heavy-footed than Season 4, and on this they most certainly deliver.
  7. NY Med is a surprisingly addictive medical docu-series, fascinating as much in form as it is in function. The third in a series of similarly-themed programs prod
  8. [Director and co-writer Dominic Cooke] does a good job of supporting the story, working in an economical epic style--shooting in fields and forests and big medieval spaces, but with the crowds and pageantry dialed down--that keeps the action human and underscores the idea that this stretch of history boiled down to a family feud.
  9. What the filmmakers show is all worth a look, and maybe a second one. (Residents get a say too; note the inevitable, but never unwelcome, black barber shop scene.) It opens you up to different, conflicting points of view--or at least reminds you that they exist--which is just what you want from such a series.
  10. It's high-pitched, unforgettable, knockout, electrifying TV...There should be a law requiring more series like NBC's new L.A. Law. [15 Sept 1986, p.C1]
    • Los Angeles Times
    • 83 Metascore
    • 70 Critic Score
    It turns out, though, that these guys are funny...The whiteness of the group is more problematic. Racial and gay/straight stereotypes are the target of a monologue by Scott Thompson, portraying an effeminate gay character. The script intends to skewer those stereotypes, but the blunt language and the fact that the group is white may lead some observers to question whether the sketch doesn't reinforce them. [21 July 1989, p.C6]
    • Los Angeles Times
  11. It is an homage and a celebration, with something of a high-class homemade feel.
  12. The chemistry between Anderson and Galifianakis drives the best parts of the new season, but it’s not at the expense of sharp humor, biting irony and plummeting self worth rendered funny by its sheer hopelessness.
  13. 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
  14. National Treasure can feel moody to a fault, and there are times, as in the climactic courtroom scenes, when the drama gets a little... dramatic. (Attorneys who should object keep mum for the sake of the monologue.) But it also does capture an awful sense of isolation in close quarters, the sadness of lives that never quite align. And there’s plenty to chew on from beginning to the end.
  15. As twisty and spellbinding as ever. [28 Oct 2002]
    • Los Angeles Times
  16. Though sleeker and more graphically brutal than its ancestor, Roots remains a celebration of resistance through survival.
  17. Highly addictive, strangely thrilling little series. (Eight episodes are too few; may I have some more?) Fun's fun, but Judge does not forget the considerable art that makes these performers worth discussing in the first place.
  18. Crafted to satisfy those generations of viewers for whom even "The Empire Strikes Back" looks quaint and old-fashioned, it is no less thought-provoking for being made to be fun.
  19. As in his 1994 "nine-inning" film "Baseball," the subject suits the director's deliberate, even poky pace, and the air of what might be called critical nostalgia that colors all his films. Jackie Robinson brings the old world to vivid life, but its messages are for today and any day.
  20. There are only three patients this time around, and their stories, written by executive producers Anya Epstein and Dan Futterman, offer a thematic cohesion that seems richer, though perhaps more familiar. More important, the show remains a rare and wonderful opportunity to watch fine actors work their way through excellent material, earning it consistent praise and HBO's commitment, despite low ratings.
  21. Once your eyes adjust to the bedazzled opulence of Liberace's life in '70s and '80s Las Vegas, Behind the Candelabra becomes a darkly moving and provocative look at two lonely men who briefly found something like love before the maelstrom of fame, money and drugs, all churning within the confines of the sexual closet, blew it apart.
  22. A disorienting labyrinth of a show that's as seductive and visually arresting as it is frustrating.
  23. There is a quiet naturalism to the production, quite distinct from Hollywood horror, in which every trick in the audio-visual book is marshaled to jolt you as far as possible out of your seat when the scare comes, and also from supposedly found-footage films ("The Blair Witch Project" and its progeny) that use aesthetic chaos to suggest actuality. This is altogether more mature.
  24. The filmmakers do not beat a political drum, they do not use an impassioned script or a soundtrack comprising brass and strings; they do not attempt to incite anger or outrage, sorrow or resolve in any way. Instead, they present the facts, simply and gracefully, and the result is devastating.
  25. 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.
  26. 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]
    • Los Angeles Times
  27. A very human, very moving documentary by Ricki Stern and Annie Sundberg.
  28. With Wormwood, he [Errol Morris] never promises to wrap up the mystery of Frank Olson’s death in a neat little package. It’s a son’s journey to find closure that makes this absorbing, if not slightly paranoid, series worth your time.
  29. The show, and its survival, offers proof that quality can triumph in an industry driven by quantity and that even though necessity is the more fertile of the two, poetry can also be a fine mother to invention.

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