Los Angeles Times' Scores

For 2,064 reviews, this publication has graded:
  • 56% higher than the average critic
  • 4% same as the average critic
  • 40% lower than the average critic
On average, this publication grades 2.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 The Crown: Season 3
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 1192
  2. Negative: 0 out of 1192
1192 tv reviews
  1. “I’ll Be Gone in the Dark” has some pacing issues and can be clumsy in its attempt to move between the various crimes, the investigation and McNamara’s impassioned quest. But it does something most true crime productions do not: It offers a form of closure for the women and men whose lives were shattered, or whose loved ones were murdered, by a prolific monster. ... But the docuseries is also a fitting eulogy for McNamara, who didn’t live to see justice served but lives on in this dueling narrative of compelling timelines.
  2. The series, which ultimately feels like the very long pilot for what could make a fine series yet to come, is easily enjoyable, nicely played and smartly designed, with some well-executed big set pieces; it is also occasionally unpleasant, a little nutty toward the end and too long and too busy for the material.
  3. As a high school comedy, it is very much on the light side. ... Apart from the main theme, which itself has come up on television before, none of the plotlines feel especially original; but that also never feels particularly like a problem, as the characters are likable, the series is good-hearted and, although the dialogue sounds forced at times, the more serious exchanges feel emotionally true.
  4. The comedian was in top form. ... What followed was Chappelle at his rawest. ... But this was a different sort of raw, informed by the heat of moment, decades of injustice and Chappelle’s own need to do something, no matter how underproduced or off-the-cuff.
  5. It is, miraculously, as good — if not better than — its predecessor. ... Season 2 is moving and profane. Stupid funny, then scary serious. Topical and evergreen. Hyperspecific with wide appeal.
  6. “Space Force” remains opaque and obvious and unconvincing. It is a contraption, and just what it is meant to produce is never quite clear. Its tones never mesh; its personality remains split.
  7. The show moves too fast to be really moving — there is tension, as there always will be when a clock is ticking, but little drama. ... I stand impressed by these self-possessed young maestros of papier-mâché, scissors and construction paper.
  8. Inspiration is drawn from older Warners cartoons (the 1940s, broadly speaking) with the old cartoons studied so closely, and so closely followed, that, references to “Raiders of the Lost Ark” and modern sports shoes notwithstanding, what results is more of a pastiche than a reboot. ... Ultimately the new shorts will stand on their own merit. What I have seen so far is not bad.
  9. One would like to be less conscious of the fact that Darby is living a lie, or a series of them, or indeed is a character in a TV series; nevertheless, anyone who has has been in a relationship of any length will find some behavior here to accuse themselves of. ... Kendrick is well cast, and as an excuse to hang out in her company, “Love Life,” frustrating as it sometimes is, will do.
  10. It is completely in the “Sesame” spirit while nailing the look and rituals of late-night television — note the sippy cup on Elmo’s desk — and in its mix of backstage and onstage scenes (Cookie Monster as co-host, Bert and Ernie in the director’s booth), it is very much a child of “The Muppet Show.”
  11. What is moving about “Pose” and “Paris” remains moving here: self-expression as healing and the House, something more than a team, as elective family. “Legendary” feels like a celebration, just by existing. Given ballroom’s historical use-what-you-have, gold-from-straw invention, it is a little disappointing to find the Houses working with designers and stylists and choreographers.
  12. Season 2 has problems standing on its own. ... Things feel mechanical rather than risky and clandestine, serviceable rather than seductive. ... It’s a forgettable follow-up, no memory-erasing drugs required.
  13. A lovely origami crane of a coda. ... Not surprisingly, that sympathy provides the “best” way through the story. If you choose the honorable path — for our four heroes are, on their own self-involved terms, honorable people — you will come to the perfect ending, of several possible. Sometimes the dishonorable choice will seem the more apt, or potentially fun, but whatever you decide, you will be eventually nudged back in line.
  14. An unusual mix of the very good and the less good — pedestrian in its outlines, often sublime in its particulars.
  15. Far from a true crime Hollywood whodunit, the big bombshells in this film are emotional. ... Scattered but compelling, a fresh narrative about Wood’s legacy.
  16. If “Upload” breaks no ground other than in digging up its influences, it has put the pieces together in a smart and satisfying way; if it leaves a host of philosophical questions on the table and picks up the practical ones, it has more straightforward things on its mind: love and suspense.
  17. It’s a show about being young. It feels innocent, which is not to say naive. And it is appropriately, almost casually exhilarating. ... The strength of “Betty” is not in its plotted moments but its more existential ones, evocative of an age when small things can seem terribly important and big things too far off to think about, when time is boundless and space a place to be skated.
  18. It all felt honest, made with love. There was never any sense that the actors had been away from their characters for five years, or of shoehorning old material into a weirdly shaped new box. It was pure Leslie Knope, addressing the real emergency by raising money, addressing the series by staying true to its spirit, and addressing the audience as part of the community.
  19. It’s this very sincerity, even generosity — its best features, really — that keep the series from being lifelike, and, indeed, can make it seem a little ridiculous. “Hollywood” is determined to deliver good outcomes to its characters; it’s a fixed game, and while it’s easy enough to watch, and to sympathize with its desire to liberate a repressive age, it has little urgency.
  20. “Defending Jacob” is a measured and duplicative story that feels like a collection of clips from other well-produced, but ultimately forgettable, crime narratives.
  21. A banal bore of a mishmash adventure series.
  22. It needs people stories instead of technology stories.
  23. It is an ambitious, extraordinary, dreadful, beautiful thing.
  24. What saves The Commish (barely) is Chiklis’ nice work as a complex, plain-talking family man seeking to distance himself from his modest Brooklyn origins, plus Scali’s priceless clashes with his shiftless brother-in-law (David Paymer). These humorous skirmishes in the presence of Scali’s wife (Theresa Saldana) set an urbane comic tone for “The Commish” that makes you almost forget the program’s lapses.
  25. It’s a compelling drama that’s as ambitious, colorful and bold as the characters it brings to life over each hour-long episode. ... The divisions among [the women's rights activist] ranks is where the drama really heats up, and strikes more than one painfully topical nerve. ... Blanchett is transformative and chilling here.
  26. Season 3 extends the thinning plot and has trouble finding its mojo in the first four episodes reviewed here. ... It takes it quite a few episodes to get off the floor, into the shower, and back in the fold — and no matter how good Oh and Comer still are (and they are), it feels like a slog
  27. Everything is expertly done. The dialogue is crisp, the actors classically adept and physically right, the direction relaxed, the camerawork restrained. ... It is more neatly shaped than “Downton Abbey,” if less of an existential warm bath.
  28. It’s true that not every story line gets equal attention or succeeds equally well, and it does take a little while for authentic characters to emerge from artificial scene-setting. But emerge they do, and my growing desire to peek at the end — as a TV critic, I have that power — was a sign that I had become deeply invested in their fates.
  29. The title “Kill Chain” comes from a military term for how an enemy clarifies its attack steps. Though clearly meant to inject paranoid gravity to an already persuasive argument about the perils inherent in electronic voting systems, the movie is more helpful when giving voice to what experts say is the only true solution: the simple physical record of a paper ballot. ... Swift and blunt.
  30. The comedy is at once ridiculous and disturbing, played — even overplayed — with bland insouciance; it achieves a sort of authenticity while repeatedly signaling that it’s all a construct, a performance informed by the idea of performance.

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