Los Angeles Times' Scores

For 7,633 reviews, this publication has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Fleeing by Night
Lowest review score: 0 Book of Shadows: Blair Witch 2
Score distribution:
7,633 movie reviews
  1. The whole thing plays like a bad Equity-waiver one-act.
  2. Female sexuality has evolved into pure evil here with Von Trier looking ever so much like the Marquis de Sade of filmmaking.
  3. Director/co-screenwriter Gabriel Bologna, working vigorously at hokey predictability, wastes little time getting us to wish his obnoxious characters (why do people who seemingly hate each other always vacation together?) would find their inner maniacs already.
  4. A film so exhausting in its mean-spirited unfunny business that it would prompt Al Gore to empty his recycling bin and light a match to the contents -- and the plastic bin itself -- in full view of news camera crews.
  5. As for the movie itself, it is better than the original "Cats & Dogs." But so is a rabies shot.
  6. From its title, Alien Girl seems to promise some kind of playful intergalactic adventure. That, it is not. Rather the film is a grim, artless Russian-made gangster picture that is neither stylish nor fun.
  7. It's rare to find a movie protagonist who singularly fails on every count to be a compelling, sympathetic or even understandable figure.
  8. Wuershan's heavy hand, never letting up for a moment to allow any air or life to enter the film, cuts off the film's energy even as it rattles relentlessly on.
  9. Enthusiasm isn't exactly a replacement for good sense or basic skills, and the film's truest mystery is why no one pulled Metcalf aside and suggested he keep all this to himself.
  10. The scenario makes for an inept, lazy R-rated movie whose sole purpose is as a glossary of euphemisms for genitalia and sexual acts.
  11. I fear the furry singing sensations may have finally run completely aground. If only they were truly stranded on that desert island…
  12. The Devil Inside plays like a horror film conceived on graph paper.
  13. The FP so desperately wants to be cultishly admired for its bad-taste rollout of wacko characters, ugly costumes and vulgar slang that it forgets to be genuinely offbeat or funny.
  14. Dark Tide, directed with hopelessly flagging energy by John Stockwell, barely musters up enough interest to be thuddingly bad.
  15. Lacking real kick, High School winds up as irksome as a bag of ditch weed and as lame as the pun of the film's title.
  16. The patriot-packaged Last Ounce of Courage has been made with the conviction of true zealots, but also the competence of amateurs.
  17. This poor film is so shamelessly manipulative and hopelessly bogus it will make you bite your tongue in regret and despair.
  18. Vaguely misogynistic and defiantly paternalistic, the movie fails at nearly everything.
  19. The best of the Alex Cross mess suggests that as an actor, he has the talent to move beyond the world of Madea should he want to. He just needs to look for much better material.
  20. The storytelling, from a script by David Coggeshall, is at times nearly incoherent and relies too often on random scares.
  21. This sloppy sentimental journey is long on beauty shots, short on depth and seriously intent on tugging your heartstrings. Indeed, it demands you reach for those tissues. Sob.
  22. Saving Lincoln feels amateurish, strange and beyond redress.
  23. This is Nancy Meyers territory, but leaden with passé observations about lovelorn women...and hardly ebullient as either oddball-pair comedy or housewife-revenge fantasy.
  24. K-11 has the makings of a cult movie campfest but little of the authentic wit, edge or outré vision it would take to get there. What's left is a dreary jailhouse drama that somehow managed to imprison a few notable actors within its lurid walls.
  25. Perry's ongoing disinterest in improving as a filmmaker is now seemingly part of his unshakable belief in himself, his insistence on doing his thing his way.
  26. Without a human dimension to ground its construct, The Brass Teapot ultimately feels like an interminably stretched-out skit rather than a storybook lesson stained with blood and hurt.
  27. 6 Souls is regrettably sick with that familiar disease afflicting movies of this ilk: ostentatious, hollow moodiness that spreads like an unwelcome rash.
  28. A predictable hodgepodge of uninteresting psychological cat-and-mouse, dimly lighted action.
  29. Neither the film, nor the film within the film, hold our attention. Bummer, Keanu.
  30. The conceit grows more strained, its Talmudic potential unrealized, while the comedy never rises above bleh.
  31. It's not the worst idea for a revenge fantasy, but Jim's payback is so lacking in logic and reality, not to mention tension, that it proves more laughable than cathartic.
  32. Lopez is a middling ringmaster of doom at best. But there's so little context to the litany of ugliness — some played for laughs, some meant to shock — that it's hard to discern where the entertainment value lies in any of this.
  33. Chow is actually an apt metaphor for the movie - indescribably irritating and only in it for the money.
  34. The script has no nuance, none. And when Shyamalan moves into the director's chair, the script problems are magnified. Everything is spelled out, underlined in red.
  35. If ever a movie signaled that the Quentin Tarantino copycat age of empty-headed wink-wink genre rehashing is still with us, Rushlights is that movie.
  36. It's a goofy, episodic trifle designed to induce swoons among the saccharine who coo every time they see a cute guy, or a baby, or a cute guy holding a baby while watching YouTube videos about how to change a diaper.
  37. The self-serious POV visual style has none of Brian DePalma's cheeky, unnerving and self-implicating virtuosity — it just reinforces how sick and dumb this whole feel-bad exercise in misogyny and dimestore pathology is.
  38. Painfully lugubrious, any sting Copperhead might contain for its contrarian's view of history is undone by its wayward sense of storytelling.
  39. The pretentious, preposterous, dueling-dialect flameout called Killing Season has to stand as one of the biggest missed opportunities in iconic matchups.
  40. Grown Ups 2 looks like it was a lot of fun to make. And the last laugh is on us.
  41. The heavily improvised flick ambles as slowly as a toddler rounding first base. Hopefully, Garlin's next movie bothers to include a plot and jokes, i.e. the essential building blocks of a comedy.
  42. They've jacked this loud, lame shrieker of a movie up to the highest decibels, both aural and visual, and rammed it in our faces with almost numbing aplomb.
  43. But unless you're a demolition-derby fetishist or a connoisseur of vehicular mayhem, none of that will buy you a thrill in this video game posing as a movie.
  44. The film strands its archetypal characters in a featureless danger zone and gives them overly familiar dialogue borrowed from a dozen other B-movies.
  45. This 3-D spectacle is less the dance movie that's going to make b-boying cool again than a shill for sponsors' gear.
  46. Once you look past the carnage, special effects and colossal locales, all you're left with is the supper show at Medieval Times Dinner & Tournament.
  47. There's certainly a profound and valuable documentary to be made about our eldest living senior citizens. Sadly, Walter: Lessons From the World's Oldest People isn't it.
  48. McCarthy has not done himself or his reputation any favors with this original.
  49. Pulpy dross of surpassing dumbness, Charlie Countryman takes the blender approach to mixing dark adventure, doofus comedy and pie-eyed romance, but forgets to put the lid on when pulsed.
  50. If you admire Kellan Lutz's chiseled body, The Legend of Hercules does offer plenty of that in 3-D glory.
  51. There's certainly no moviegoing reanimation in director Stuart Beattie's adaptation of Kevin Grevioux's graphic novel.
  52. Co-writer and director David Aarniokoski's clunky, crude blotch of prurience and bloodletting is too self-satisfied with its wink-wink naughtiness to be either fun-dumb or scary-sexy.
  53. Cavemen writer-director Herschel Faber has sketched such a thin and unfunny look at L.A. singles, it should mark the death knell for movies about child-men on the make.
  54. The dreary, loud, amateurish horror-comedy A Fantastic Fear of Everything...isn’t terribly interested in logic. Or continuity. Or filmmaking acumen. Or, most glaringly, laughs.
  55. It's dispiriting enough that we're still getting movies about the cute side of mental illness, but to turn someone rendered childlike by abusive trauma into desirable girlfriend material — and sporting cast-off stripper attire to boot — is more than a little creepy.
  56. War of the Worlds: Goliath is just a few cereal commercials shy of a pointlessly cartoon marathon — violent, messily drawn and lifelessly dragging.
  57. An abject filmmaking lesson in the many ways to irk moviegoers: cardboard characters, dippy plotting, sentimental overkill and tortuous logic.
  58. Tyler Perry's The Single Moms Club is a sitcom masquerading as a feature film... Too bad he didn't just spare us the awfulness of this flat and phony slices-of-life dramedy and go right to series, where half-hour bites might have helped mitigate the pain.
  59. The exhausted mockumentary genre provides yet another reason for its demise in Authors Anonymous, a tenaciously unfunny comedy.
  60. Little more than an 88-minute "it has a mind of its own" gag, Bad Johnson should have kept its premise in its pants.
  61. If it only had a brain, a heart and the nerve.
  62. None of it works, really, as either musical satire or genre Chex mix.
  63. Everything we can gather seems to nullify any virtues we saw in the original film.
  64. The movie doesn't even need five minutes to signal that it's already a goner.
  65. There's simply nobody to care about in Among Ravens, even as a case study in unhappiness and delusion.
  66. Little more than torture porn tricked out in art-house finery. That is the bigger crime here.
  67. After catalogs so many clichés in the dysfunctional family at its center that the film could be taught in a screenwriting class as a lesson in what not to do.
  68. So unless you're a fan of yawn-worthy shootouts and showdowns, The Prince is a "Taken" retread hardly indicative of any special set of skills.
  69. There's no ignoring the aggressive stupidity and crassness behind the whole enterprise.
  70. Hokey dialogue, a syrupy score, a corny use of slow motion and a slew of contrived or undercooked plot developments further sink a movie whose appeal may elude even die-hard romantics.
  71. A movie of such snowballing stupidity that it's a wonder the actors could keep straight faces while shooting it (outtakes, please!).
  72. Like so many filmmaking wunderkinds who could have used a course in common sense, Glanz is technically assured but emotionally hollow.
  73. Director John Suits seems more concerned with plying eyeballs with creepy atmospherics, showy visual effects and sexy interludes than with propulsive pacing or roiling tension.
  74. The stars' banter is insipid and unfunny, the wacky shocks short out and, most unforgivably, the car chases are a snooze, filmed as a series of stationary close-ups and diced in the editing room until they suggest anything but movement.
  75. Lapses into an exercise in foolishness.
  76. One of those movies that makes you want to throw up your hands in despair, disgust, or maybe both.
  77. Supernova isn't so super.
  78. A total waste of time.
    • Los Angeles Times
  79. Way too bleak to be funny, even as a contemporary satire of the battle of the sexes.
  80. Skip it. Just fill in the blanks and you too can brew the same bland, goopy mixture, right down to such clunker lines as "There is a Santa Claus, Ma. He just doesn't come to Brooklyn anymore."
  81. A haphazard film about half as sophisticated as the average beer commercial.
  82. The thrill is definitely gone, leaving a disappointing and unpleasant mess in its place.
  83. The Specials is an unfortunate name for a film that's anything but.
  84. Struggles awkwardly to bring a twist or two to its hoary class-conscious story line, aiming for a subtlety in character development that's smothered by excessive kitsch and kink.
  85. So laughably awful that it begs to have stones thrown at it; it's a wonder it got made at all.
  86. Tedious and unfunny.
  87. Seems merely tired and stale, the opposite of fresh, marked by ideas for jokes rather than things that are actually funny. Then, without warning, it goes from inept to complete disaster, sinking from indifferent to fiasco in the blink of an eye.
  88. Despite a premise that's provocative, to say the least, this one's a dud.
  89. This aggressively stupid film is merely business as usual, a compendium of all the current obsessions and fixations that make so many of these films such unhappy experiences.
  90. It's arguably one of the emptiest, feeblest, most derivative scripts ever made as a major studio movie. There's no need to do a Mad magazine movie parody of this; it's already on the screen. [12 June 1987, Calendar, p.6-6]
    • Los Angeles Times
  91. It is hard to say what is more dispiriting about True Romance the movie itself or the fact that someone somewhere is sure to applaud its hollow, dime-store nihilism and smug pseudo-hip posturing as a bright new day in American cinema. [10 Sept 1993]
    • Los Angeles Times
  92. A movie made for wrestling fans that makes fun of wrestling fans? That cuts a little too close to the vicarious masochism at the heart of pro wrestling's core constituency. Also, it's not funny.
  93. Duller-than-dirt.
  94. I laughed a couple of times, but mostly I was bored out of my mind and not a little depressed.
  95. Dude, one last thing: If you see my moms and pops, definitely don't tell them about this.
  96. Trite and uninvolving.
  97. What's most interesting about this new film is how lacking it is in any of the things, from humor to emotion to halfway decent acting, we might go to a movie for. There's not even enough here to get mad at.
  98. Like a dinner-theater version of the "Alien" movies without the good grooming.
  99. The story leapfrogs abruptly from scene to scene, and it makes such a mockery of narrative logic and continuity that the cast tends to look either baffled (Dorff) or as if they're trying to remain unrecognized.
  100. Lacking a real actress, director Michael Apted is called upon to fudge the facts and make Slim's ordeal as taut as possible. He gets the job done, but the suspense scenes have a generic fright-by-numbers feel that tell us he's wearing his professional hat and knows it.

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