Los Angeles Times' Scores

For 9,670 reviews, this publication has graded:
  • 57% higher than the average critic
  • 5% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Fire at Sea
Lowest review score: 0 Nothing Left to Fear
Score distribution:
9670 movie reviews
  1. Unfunny rather than outrageous as intended.
  2. Severely marred by a plot device so ludicrous it turns a serious drama into something silly.
  3. Ultimately, there’s just nothing here that’s snappy or relevant. In tech-speak, this film is bricked.
  4. By cramming in as many tangents as imaginable, Olvidados ultimately loses sight of what the story is even about.
  5. Apart from Farmer's effectively stricken portrayal of a singularly conflicted man, The Falls: Testament of Love is too earnest a slog to have any impact.
  6. To say everyone plays like they're in separate movies is an understatement.
  7. At once corny and precious, its humor seems too heavily ethnic to travel well.
  8. A dismally formulaic hodgepodge of crude humor and wan attempts to tug at the heart.
  9. By the time the heavy-handed Solomon & Gaenor is over, it has become such a punishing exercise in the self-evident that one is left numb and eager for escape.
  10. From the overwritten, pop-culture-reference-laden dialogue to the incessant attempts to be shocking, Happy Birthday tries way too hard. For a movie that doesn’t have much to say, it sure never stops jabbering.
  11. Not to be glib, but sitting through the art-centric chamber piece The Time Being is truly like watching paint dry.
  12. The climax is overwrought and cheesy, which doesn't match with the quiet dignity of the Inuit man. He carries a profound and sage warning, but Chloe and Theo just isn't the right dramatic package.
  13. Beware any movie that talks about what it is before being what it is.
  14. However visually striking, this Australian film is ultimately as tedious as it is derivative.
  15. Madonna may be better in this film than she's been in some of her recent endeavors, especially when she stops screeching her lines, but she's done herself no favors with her choice of material.
  16. The People Garden is so slow and spare that it barely registers. It just floats through the forest, silent and bloodless.
  17. The story on screen comes off as a naive interpretation of the homeless experience as imagined from a place of great privilege.
  18. If ever a film was made with more money than sense, this is it.
  19. As long as there are enemies in Islamic lands, we'll probably have to endure risible time-wasters like London Has Fallen, designed to justify blinkered foreign policy attitudes and stoke jokey hatred.
  20. Brings vampires, werewolves, zombies, detective noir and spoofy comedy together for a murky genre gumbo with barely any flavor.
  21. Though the title hints at a tale of infatuation, Levy sheds little light on interpersonal conflict or why we're such an addictively self-documenting modern society.
  22. Director Mikael Hafström's dramatic sense is so pedestrian and snail's-pace obvious -- since this 2003 feature, he's made the leap to Hollywood with the plodding thriller "Derailed" -- one starts biding time for the inevitable retributive smackdown that will save our hero from the gantlet of draggy high-mindedness about counteracting fascism with stony resolve.
  23. Is it good? No. Is it fun? A little. Is there a makeover montage? Of course.
  24. Maybe it's the sight of Leguizamo running around dressed only in boots and a well-placed sock that does her in, or maybe it's just that she's seen this movie too many times before. She isn't the only one.
  25. The fatal flaw of "John Doe" is its focus on ideas, rather than people.
  26. A pair of detectives lingering on the periphery of the story help provide a twist at the end that is well-handled and carries an unexpected irony, but it is really too, too little coming far, far too late.
    • 22 Metascore
    • 30 Critic Score
    Like an ugly tie or a pair of slipper socks, Black Christmas is destined to be forgotten the instant it's unwrapped, gathering dust until the season rolls around again.
  27. In the end, Take is too enamored of its time-shifting gimmick and cheap suspense to ultimately have much impact.
  28. All Echelon can offer is some wobbly action and views of Red Square.
  29. Ghoul can't decide whether it should be about cannibals, serial killers, ghosts or demons.

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