Los Angeles Times' Scores

For 8,105 reviews, this publication has graded:
  • 59% higher than the average critic
  • 4% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 0.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Mad Max Beyond Thunderdome
Lowest review score: 0 Nothing Like the Holidays
Score distribution:
8,105 movie reviews
  1. Unfortunately, attempts to be original are not enough, they have to succeed, and this film's solutions tend to present themselves as alternately gimmicky and banal.
  2. We, unfortunately, learn very little in this Earth Day release (originally completed in 2012) that we haven't seen before in more evolved, better focused documentaries.
  3. Includes a few scenes of impressively choreographed mayhem, but they're all but buried in Freeman and Condon's mystical grandpa and weirdo teeny bopper routines.
  4. Really, truly, very scary … At least until about 30 minutes in, when you start to be distracted by the lack of logic in the storytelling and the fact that the nasty little gremlins responsible for all the bumps in the night can be offed pretty easily.
    • 30 Metascore
    • 40 Critic Score
    Miller's flat, humorless yarn is set in Central City, a vacant metropolis whose only residents seem to be cops and crooks.
  5. Has little to offer in the way of entertainment or originality.
  6. Hector may indeed learn that narcissism stands in the way of happiness, but he also walks away with his privileges intact and unchallenged.
  7. Hartley turns what might have been a lurid pulp thriller into a freeze-dried art thing. He squeezes all the juice out of pulp. [19 May 1995]
    • Los Angeles Times
  8. The story becomes more ridiculous as it escalates, the film's over-determined ecological focus undermining any real horror movie tension. Levinson's casting choices are off-the-mark as well - star Kether Donohue is just plain bad.
  9. This is a movie that leaves you wanting more. To care more, to cry more, to love more.
  10. More than a gimmick, that self-conscious visual strategy suits the self-impressed creative-class characters, even as it is, finally, more interesting than they are.
    • 28 Metascore
    • 40 Critic Score
    Like a fatally snarled string of Christmas lights, Deck the Halls promises holiday cheer but delivers only frustration.
  11. Director Vivi Friedman's inability to successfully reconcile the film's duality undercuts an eclectic cast gamely committed to Mark Lisson's thematically ambitious, if scattered, script.
  12. Aliens vs. Predator -- Requiem simply exists, nodding to the continuity of the larger series and opening the door for, yes, another entry in the franchise. In Hollywood as in outer space, spawn begets spawn.
  13. Instead of depicting a boy's first steps toward manhood -- ceremony aside -- it turns into an uninvolving portrait of self-absorption.
  14. A self-indulgent pilgrimage to the shrine of '70s fabulousness, Ultrasuede: In Search of Halston assembles a fine assortment of archival material but falls far short of its stated goal.
  15. Mildly entertaining, offering generous swaths of Mahler performed by the Bratislava Philharmonic, but it's also inescapably ponderous.
  16. This "Theorem" is all sizzle, zero steak.
  17. Disjointed and unfocused.
  18. The South takes another beating in Sweet Home Alabama, but that's nothing compared with the one conferred on the sweetheart personality of its pint-sized Gen. Sherman.
    • 28 Metascore
    • 40 Critic Score
    A dead-on-arrival thriller that resolutely fails to come to life.
  19. Since it's a comedy, much could be forgiven if the film was consistent in generating laughs, but the comedy is as erratic as the couple's sex life.
  20. The film strives for some type of a girl-empowerment message that equates trading one type of conformity for another with self-determination but muffs the dismount and stumbles on the landing. In other words, it fails to Stick It.
  21. The script by Richard D'Ovidio is so packed with knuckleheaded moves and ultra-obvious dialogue ("Dad, there's something wrong with this place!") that the whole enterprise proves more risible than frightening.
  22. Beowulf appears so cartoony, in fact, that the academy just put it on the short list of films to be considered for the Oscar in feature animation.
  23. Few people will be able to go along with Bolton's point of view regarding relationships between adults and underage youths, but there's no denying the writer-director, in his feature debut, has avoided sensationalism in telling this story.
  24. John Leguizamo steals the show as its sleazy trainer -- not that there's much to steal from John Schultz's joylessly schematic paycheck.
  25. A self-consciously zany dysfunctional family comedy, When Do We Eat? strains so hard to be outrageous that it sacrifices characters for caricatures. They might have had something if they'd let everybody relax, be themselves and enjoy dinner.
  26. This busy-yet-dull sequel feels like Wan robotically flexing his manipulation of fright-film signposts, an exercise more silly than sinister.
  27. There's a lot that remains unclear about the powers and abilities of the creatures in Skinwalkers, largely robbing the film of tension as events transpire in a slapdash, haphazard manner.
  28. Between lots of uneven acting, some embarrassingly bad dialogue ("How do you move forward when your soul is torn apart?!") and too many unconvincing, warmed-over moments, the movie, like its charisma-free characters, is a tough one to embrace.
  29. This is the latest addition to a new type of drug movie -- one that exploits addiction for a lot of self-adoring showboating.
  30. Williams knows when material is working, and he knows the sound of an honestly aroused crowd. This ain't it!
  31. The clumsily shot and scripted Now & Later is a hollow concoction of sex, politics and endless chatter that's just a few camera angles short of hard-core porn.
  32. The Rooftop is a bullet train to bananasville, its tonal eccentricities sure to wear out even the most dedicated connoisseur of silly cinema.
  33. There's little that feels fresh, freaky or funny about one more batch of eccentric reactions to hungry corpses, one more attempt to creatively splatter, one more metaphor for zombie invasion.
  34. (Lipnicki) is pressed into the service of mugging and shtick that would test the mettle of Roberto Benigni.
  35. Proyas is trying simultaneously to create a pure thriller and sci-fi nightmare along with his tongue-in-cheek critique of artifice. And this doesn't work out quite so well.
  36. The medieval-tinged adventure Last Knights will test your patience for speeches about honor, grim declarations of loyalty and pre-battle glowering.
  37. Mostly Lockout is lost in space.
  38. Frankly, the film's real surprise is that it doesn't collapse under the weight of its sanctimonious posturing and howling pretension. The film is crammed with high-cultural references and people playing "smart," but none of it adds up.
  39. Its successful moments (and they are only moments) remind us that this is a squandered opportunity.
  40. No One Lives is a cheap horror prank that's ultimately not clever or accomplished enough to sustain its eccentricities, and they are very bloody eccentricities indeed.
  41. Brotherhood isn't badly acted or without some skillfully tense moments, but it doesn't have much in the way of entertainment value either.
  42. There is never a sense that The Fall exists for any reason besides simply being something nice to look at. Yet no matter how good-looking a film may be, if it's as sleep-inducing as this, there's simply no point.
  43. The film is plagued by Anselmo's inability to focus on the heart of his story.
  44. The prospect that this role would officially shift Bettany to a bigger stage, taking him from the character roles that have become his specialty to leading man status, dies a sort of Darwinian death from bad plotting.
  45. When a set of pre-shooting guidelines a director came up with for his actors turns out to be cleverer, better written and of considerable more interest than the finished film, that's a bad sign. A very bad sign.
  46. This premise is ripe with possibilities, but in an apparent -- and definitely misguided -- attempt to make his movie more commercial, Wilkinson has made the younger brother a murderer on the run.
  47. Uptown Girls is more downer than upper.
  48. While the plot is a non-starter, the margins of Gold and co-director Tammy Caplan's debut feature are scattered with other real-life magicians who make quarters vanish every time our attention does the same.
  49. It's hard to remember when actors have stepped into such a no-win situation and mustered up such panache: Turturro may be on a sinking ship, but he manages to drown brilliantly.
  50. Not only is the story dreamed up by producer Ahmet Zappa even odder than the title indicates, its execution gets increasingly irritating as the film goes on.
  51. So much blandly sweeping, speechifying history and so little personalized dramatic focus turn No God, No Master into a series of issue-driven snapshots instead of something genuinely illuminating.
    • 35 Metascore
    • 40 Critic Score
    Dreariness seems to be the filmmaker's shorthand for authenticity here. Without any realism to ground it, the movie's spiritual story line feels aloft — swirling around but never dramatically landing.
  52. That Rosa never encounters another character with English fluency — nor grasps her Eurocentric limitations — makes director Threes Anna's film less the intended portrait of cultural isolation than an illustration of how a lack of imagination can lead to despair.
  53. The product's not 100% giggle-free: Several songs have amusing lyrics, especially parodies of "Juno" and "High School Musical."
  54. Becomes unfocused as it stumbles over all the points it wants to make.
  55. Regrettably, the long-delayed adaptation from director Vicente Amorim and screenwriter John Wrathall gets crushed by the weight of trying to be something more; it's really just the story of a rather ordinary but disappointing man. The filmmakers reach for metaphor and allegory, but it comes at the expense of an emotional connection.
  56. Its twisty film noir world of down-on-their-luck men and unfathomable women is vintage B-picture material, but, in the grand B tradition, the games it plays are more ambitious than successful.
  57. This somber work about the worthiness of living has little life in it.
  58. This is a standard-issue gross Hollywood knockabout comedy in which slapstick antics have been piled up with a steam shovel and driven home with a sledgehammer. Reynolds and Smart are game and even dimensional, but all others are stuck playing tiresome, obnoxious characters.
  59. Sal
    Franco seems torn, on the one hand presenting his subject as a likably ordinary, self-involved actor and on the other sanctifying him as a would-be gay icon in a conformist industry.
  60. Isn't so much a movie as an extended sitcom -- it looks like one, it acts like one, it reduces everything to the lowest common denominator like one.
  61. If I were 6, I could enjoy Rebound without thinking about all the better movies made from its concept.
  62. Eraser does have a few big-ticket stunts that hold the attention, but director Charles Russell, fresh from "The Mask," isn't able to infuse them with the intensity and believability that James Cameron brought to comparable sequences in "True Lies."
  63. The resulting film is a muddled, melodramatic, sort-of remake of "The Graduate."
  64. Controlled Chaos unfortunately also reveals that Zendel's talents do not equal her ambitions.
  65. The basic story's narrative and psychological simplicity — characters stating their beliefs over and over again — becomes an increasing burden.
  66. It's a movie that's almost all style, all technique. It doesn't seem to be inhabited by people, thoughts or feelings, but by great coruscating patterns of light crashing over and over us, repeatedly--almost, but not quite, drowning out a constant buzz of cliches.
  67. Part of what makes "Connecticut" oddly watchable even as it drags is the oil-and-water mix of acting styles of the leads. Virginia Madsen's refined naturalism is an awkward fit with the sharp mannerisms of Martin Donovan.
  68. Expendables 3 is a kind of ho-hum experience, wherein a lot of bullets are expended and a lot of structures exploded to minimal dramatic effect.
  69. It might also have been nice to have included some archival footage that would have illustrated how little the Yukon River setting has changed over the last century, but Horvath appears to have no interest in digging any deeper.
  70. Exhausting before its first few minutes of whip-pans, smash cuts, coarsely self-referential jokes and on-screen text visuals is over, the teen horror-spoof Detention is a patience-trying exercise first, energetic genre-jumble comedy second.
  71. Laborious in the unfolding of its plot, and under Sam Weisman's brash direction the unabashed amorality of the material is crass rather than sly in tone.
  72. There are enough reasons to avoid this oh-so-wacky comedy as it meanders from piney Georgia to Port Arthur, Texas, to Monument Valley, Utah, and they include Gourley's sense of direction.
  73. An attempt to counter noisy, hyper effects-laden alien invasion flicks with something teasing, indie and good for you. Instead, it's like a pendulum swing too far in the other direction.
  74. It's revealing that writer-director Dave Boyle has said that in a way he fulfilled his lifelong ambition to be a cartoonist with the live-action White on Rice because his people in this wan, trite and increasingly silly comedy are little more than stick figures.
  75. Unlike the teeming world living between the lines in Munro's story, there is not nearly enough in Hateship Loveship to keep you invested.
  76. The Crossing Guard, Penn's second film behind the camera, is a troubling, troublesome movie whose makeshift structure cannot contain the powerful flood of passions that he and his cast have poured into it.
  77. Not exactly terrible, merely stale and pointless.
  78. LaBute can't avoid a fatal mistake in the modern era: He's changed the male academic from a lower-class Brit to an American, a choice that upsets the novel's exquisite balance and shreds the fabric of the film, corrupting all of LaBute's good work and robbing it of the impact it would otherwise have.
  79. The film strains to be hip with its sterilized pop soundtrack and perky graphics. The humor that isn't lifted from the novel is equivalent to that of a subpar situation comedy.
  80. It has its successful moments but it's surprisingly inert overall, more like a Burton derivative than something he actually did himself.
  81. In a film with several over-the-top characters bordering on camp, Timberlake's Frankie is the only one who approaches three dimensions, adept at convincingly dishing out some of the movie's disturbing violence as well as registering subtle shifts in Frankie's allegiance.
  82. It also features deaths by strangulation and immolation as well as a nasty bit with a flying severed limb.Kids may be less put off by all that, though, than by the film's uninspired hand-drawn animation, visual flatness and elongated running time.
  83. Depp's performance reminds us that, yeah, it's only a movie -- just not a good one.
  84. Like its characters, the film keeps getting lost too, stumbling as it struggles to keep kids and adults from squirming in their seats.
  85. Marcos Siega's direction is well-paced, but writers David T. Wagner and Brent Goldberg haven't brought anything sufficiently fresh or original to a formula plot to allow Underclassman to rise above the level of a mildly diverting video rental.
  86. Drains the original story of its satire and juices up its shtick, schmaltz and special effects.
  87. Although children may enjoy the animal action (there's also a fun pelican and a yellow sea turtle) and parents might appreciate the movie's genuinely sweet moments, this is exceedingly mild entertainment.
  88. Carpenter's heart doesn't seem to be in this lackluster space adventure set in 2176. What's more, his stars -- Natasha Henstridge and Ice Cube -- don't exactly energize the proceedings.
  89. Though the actor ably creates two distinct people, neither part is entirely convincing in this stuck-in-neutral feature, which combines a vague commentary on Italian politics with a vague portrayal of middle-aged awakening.
  90. Overall, writer-director Garrett Batty takes such a tempered approach, the film lacks the kind of gritty, visceral tension that life-and-death tales such as this normally demand.
  91. The script is muddled and unsatisfying, as ponderous on its feet as its protagonists are in their heavy diving suits.
  92. One of those maudlin romantic melodramas you just can't warn folks off.
  93. Rather than some deeper understanding of the human condition, what we get from Multiple Sarcasms is a lot of heavy breathing.
    • 29 Metascore
    • 40 Critic Score
    It delivers the stars in unguarded moments that should give fans--if not everyone--some kicks.
  94. Moody, mannered and supremely irritating, Christophe Honoré's Dans Paris plays like a pastiche of French cinema clichés through the ages.
  95. Everything ultimately gives way to the stately, simplistic, inevitable pace of by-the-numbers biopics, from some woefully tinny, hit-and-run screenwriting to the usual difficulties surrounding the dramatization of an author's craft.

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