Los Angeles Times' Scores

For 8,027 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 0.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Zero Dark Thirty
Lowest review score: 0 21 and Over
Score distribution:
8,027 movie reviews
  1. For the sake of the children, The Oogieloves in the Big Balloon Adventure should be allowed to quietly float away.
  2. Though there's a thin noir line between lust and hate, Lansdown delivers nothing to stir the passions of filmgoers one way or the other.
  3. There's certainly no energy surge in writer-director Jameel Khan's effort, which is a collection of lazy, look-who's-stupid-or-pathetic vignettes so loosely assembled and laugh-deficient they play as if you're thumbing through a sketch reject pile.
  4. Consider Twelve its own memory-retarding narcotic.
  5. A bust. As murky as its release print, it is a stale, incoherent spy caper.
  6. This film from writer Kenny Golde and director Mark Schmidt slaps a clich├ęd war-movie dressing over everything so that what should have felt heart-poundingly incredible comes off as heavy-handed, ludicrous and unintentionally queasy.
  7. A leaden murder mystery with a clunky structure that swings back and forth between 1958 and 2008, Stolen wastes the talents of a reasonably good cast.
  8. When Rebecca De Mornay shows up as the criminals' fiercely doting matriarch, the ready crackle of her studiously demonic performance brings welcome distraction from this otherwise crude litany of torture and wretched death.
  9. Lowell, a sitcom actor ("Enlisted") and photographer, lards his "The Big Chill" ripoff with plenty of arty touches... He assumes this will lend the needed heft to paper-thin characters, witless exchanges and emotional recriminations you can see coming a mile away.
  10. The result is a film that's main crime is inducing stupefying boredom with little payoff in the end.
  11. Little parallelism or consequence can be gleaned from Kwak's narrative that crosscuts points between 1963 and 2010. Seeing as his surrogate in the first film is absent in the sequel, the shared cultural memory has also given way to genre exercise.
  12. When a director merely goes through the motions, even Chekhov can be reduced to daytime soap.
  13. Not even a brief appearance by Quentin Tarantino and a ton of references to other movies enlivens the proceedings much.
  14. It's doubtful that records are kept about this sort of thing, but consider the possibility that Clash of the Titans is the first film to actually be made worse by being in 3-D.
  15. A trite psychological thriller -- all buildup and no payoff, a mystery that essentially offers only two alternative solutions, which diminishes the element of surprise and strings the viewer along way past caring which possibility proves to be true.
  16. One of the funniest films of the year. That's not good news for this attempted action-adventure, which clearly lost its way in its own copious fog.
  17. The real problem with "Phantom" is the problem with Andrew Lloyd Webber musicals in general. It's a slow-moving orgy of lowbrow grandiosity that's as tedious as it is overblown and pretentious.
  18. A jumble of genres including mob melodrama, bodyguard romance and interracial love story, none of which is handled in a remotely satisfying manner by director Ron Underwood. The film's tone shifts with all the grace of a car with a balky transmission.
  19. Making sense was never a top priority for "K," and its sequel is just as much of a hot mess.
  20. A dreary title for an even drearier picture.
    • 33 Metascore
    • 30 Critic Score
    It's a relentlessly silly horror/fantasy/romance that is merely the latest twist on a tired premise.
  21. This often risible head-scratcher never cracks the surface of its muddled ambitions, largely wasting its iconic settings on a series of motley interactions, Tinseltown trivia and self-conscious philosophizing.
  22. An unsuccessful concoction of sincerity, camp and crassness that is more interested in its parade of D-level celebrities than developing its characters.
  23. Whereas Haneke's films grapple with the blunt force of violence, novice filmmaker Markus Blunder just lets the violence snowball all the way down a slippery slope.
  24. Leaves us with a heightened appreciation of the bold and personal films made by a number of filmmakers of the former Yugoslavia.
  25. Season of the Witch is at its worst when it tries to be a straight-ahead action-adventure film. The early sequence set against the epic battles of the Crusades is almost brazenly bad with its unconvincing "300"-style special effects.
  26. A painfully contrived and artificial exercise in futility.
    • 36 Metascore
    • 30 Critic Score
    War
    War ties itself in knots trying to bring something new to a stale formula. It's never painful to watch, but that's only because it provokes no feeling at all.
    • 61 Metascore
    • 30 Critic Score
    Equally as perplexing as its lack of perspective is the film's overall shortage of information.
  27. It's too bad this Rollerball veered off-track so swiftly, derailed by bad writing and possibly also by some of that extensive post-production reworking.

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