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 Gabrielle
Lowest review score: 0 Formula 51
Score distribution:
7,633 movie reviews
  1. Although the script by star Anton Pardoe is ambitious and creative, its dizzying array of characters, along with a dense story that unfolds more like a checklist of showdowns than an organic narrative, make for a tedious sit.
  2. Unfortunately, the movie is so rudimentarily written, acted and directed, and its more earthly concerns painted with such a broad, superficial brush, it's hard to be convinced of such key story elements as Sheri's advanced leukemia, her love of ballet and the fact that she and dad Vince (Robbins) are actually father and daughter.
    • 46 Metascore
    • 30 Critic Score
    That's about all Next Day Air can muster by way of invention, trying to slap a new face on a gaggle of rote gestures in a vain attempt to cover its own uselessness. But no matter how big the guns it draws, every shot is a dud.
  3. Rarely have the words "game over" come as such sweet relief.
  4. Someone has driven a stake through the heart and ripped out the soul of the 1980 original. The responsible parties, make that irresponsible parties, should be found, thrown in movie jail and not allowed within 50 feet of a set again. Ever.
  5. Kabir Khan's New York -- part Bollywood potboiler, part overwrought examination of the war on terror -- is a slice of the Big Apple that you should skip.
  6. At the end, all is horrifically explained, the body count inflates, yet hardly anything makes sense. In Papa Lynch's films, little is explained, yet because he's so gifted at mining our deepest fears and scariest desires, logic is excused.
  7. This is a film with a mission: Get to the grand-gesture climax without disturbing any clichés in its path.
  8. Any higher intentions are brought crashing down by predictability, wooden characters, giggle-inducing attempts at scares (shrieking bats, anyone?) and cinematography so gloomy it should be checked for serotonin deficiency.
  9. What the plot doesn't decimate, the film's slower-than-a-clogged-drain pacing does. Sadly, this is one box that's just not worth picking up off the porch, much less opening, not even for a million dollars.
  10. A joyless fluffball about after-college job woes with a dispiriting message for smart young women.
  11. Keeps its audience in the dark -- literally and figuratively -- far too long to be of much use besides as a patience-trying exercise in reference spotting.
  12. Legion may traffic in signposts of the apocalypse, but the whole affair mostly indicates that we're in the movie wasteland that is January.
  13. They try to get 'real' about strange occurrences. Instead they get ludicrous.
  14. Satire aside, what the oddball folks here never feel is real, despite the filmmakers' claims of autobiographical parallels.
  15. Invites the kind of judgment it condemns.
  16. Duffy tamps down his best instincts -- occasional wry humor and the appealingly oddball supporting character (Willem Dafoe last time, a bug-eyed Clifton Collins Jr. here as the MacManus' admiring Latino cohort) -- and doubles up on his worst: homophobic gags, tedious '90s-era slo-mo shootouts and overwrought gangster tropes.
  17. What are in very short supply, though, are the central chords of Dickens' carol: Crachit's generous spirit, Tiny Tim's sad plight, Scrooge's emotional arc as he finds his humanity. Oh, the scenes are there amid the action, but they are fleeting. By the time A Christmas Carol finishes piling its many shiny presents with their many bells and whistles under the tree, there's no room left for tears for Tiny Tim. Bah humbug indeed.
  18. Paa
    The film is no more than a tedious, over-long Bollywood soap opera.
  19. 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.
  20. Because Nine is a musical, it would help if your leading man could sing, and I don't mean carry a tune, but actually flex some vocal muscle. Again, love Daniel Day-Lewis, excellent racing shirtless through the forest, but a song-and-dance man he is not. So what does that leave Nine with? Well not much.
  21. 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.
  22. Benson is so terrible her close-up line readings feel as inconsequential as the insert shots, and Madsen, it must be said, finally looks exasperated with playing grumbly psychos. At times he looks as helpless as his hostages.
  23. 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.
  24. Every time Kudrow exits the picture, imagining her fed-up character's life away from the twee therapeutic noodlings of Paper Man makes for its own time-killing retreat from dull indie-film reality.
  25. Wilson's amiable vocal work keeps the predictability from becoming too grating.
  26. The grand Mirren is, truth be told, miscast and Pesci is misdirected as Grace and Charlie Bontempo.
  27. Consider Twelve its own memory-retarding narcotic.
  28. Did I mention the dialogue? Well, really the armored car driver put it best when he said, "We're in trouble here…" No joke.
  29. Fake or not, I'm Still Here is no fun to watch, and in fact Phoenix's situation comes off as so dire that it becomes a reason to doubt the film's authenticity. Filming someone having a mental breakdown is embarrassing and exploitative at best.

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