Los Angeles Times' Scores

For 8,560 reviews, this publication has graded:
  • 58% higher than the average critic
  • 4% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Mud
Lowest review score: 0 21 and Over
Score distribution:
8,560 movie reviews
  1. Perhaps the vapid existence of millennials is precisely the point that co-writers Erik Crary and Steven Piet (who also directs) are driving at, but the film itself proves inarticulate and unsubstantial.
  2. We get too little character development to be invested in the story and barely a glimpse at the horrific plight of enslaved people.
  3. Nightwatch is a seriously overcast B-movie with rote performances from everyone but Brolin, who gives James an edge of danger that says that if he isn't a killer, he will be.
  4. In some ways, The Man plays like a sequel to some terrible movie that was mercifully destroyed before it was ever released.
  5. One Night at McCool's is one night too much.
    • 31 Metascore
    • 30 Critic Score
    Too often is as garbled as Pootie's own jargon.
  6. With so little trust and even less dialogue to back him up, it's no wonder Li rarely takes his left hand out of his pants pocket. His fists aren't furious; they're on strike.
  7. There may once have been a real movie rattling inside the empty studio package known as The Big Bounce, but no longer.
  8. Filmmakers Scott Beck and Bryan Woods water down the element of surprise, even if they get the found footage shtick down to a science.
  9. Crushingly listless and at times as off-putting as a needle scratching vinyl, this corkscrew tale of questionable (and questioned) parenting, youthful misjudgments, grudges and disappointments doesn't even have the disciplined domestic-evil allure of a Lifetime movie.
  10. The movie is flatly acted and extremely ill-paced, lacking any sense of urgency, momentum or fun. "Romancing the Stone" it is not.
  11. So mild, so benign, its humiliation-to-vindication are so predictable and its old-folks jokes so feeble.
  12. Cheap silliness abounds, including car chases that are more about loud crashes and CGI than the thrill of speed.
  13. The direction by Gil Cates Jr. is inept at best, and the script by Cates and Marc Weinstock seems to operate under the assumption that trafficking in flabby clich├ęs -- the kindly call girl, the scrappy youngster, the angry dad -- will somehow smooth over the underdeveloped characters.
  14. Rinsch, making his feature debut, shows the shortcoming of someone coming from the image-based world of commercials and advertising. There are moments of genuine beauty and a few terrifically eye-popping effects, but no feel yet for storytelling.
  15. GhettoPhysics undercuts its approach with too much cant, too much rambling and too much that is self-evident.
  16. The idea of a revenge comedy isn't necessarily a bad one, Bride Wars simply fails at it despite having the formidable duo of Kate Hudson and Anne Hathaway, who in their own distinctive ways usually command the screen.
  17. 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.
  18. Wilson's amiable vocal work keeps the predictability from becoming too grating.
  19. That the bonds of friendship between Vince and his pals are predicated so strongly on excluding others feels regressive and drags the movie away from harmless high jinks into something needlessly more spiteful and ugly.
  20. Comes off as formless and inane.
  21. Commercial director Shyam Madiraju, making his feature debut, demonstrates a spare, sinewy visual grip on the low-budget film, especially during that crash sequence. But the mechanical script strands a capable young cast in a sea of hackneyed character types and soggy platitudes.
  22. Given the polyglot nature of the cast, with actors from at least five countries taking their best shots at the English language, it's unclear why Cage felt he needed an accent or, stranger still, why it took him a reported seven months to come up with this one.
  23. Schifrin wisely holds off showing the monster -- because once the creature is revealed, the already shaky film takes a turn for the worse. The costume for the monster looks like a cross between a drugstore Halloween mask and leftover molds from the horror chestnut "Leprechaun."
  24. George Clooney's first effort behind the camera was doubtless more stimulating to direct than it will be for audiences to watch.
  25. This hollow downer about deep wells of male anger, wallowing regret and mental disintegration is ultimately a thematic cop-out.
  26. It's hard to believe that the group who came up with the hard, clean edges of "Top Gun," sleek and unfeeling though it may have been, could make a picture as crude, as muddled, as destructo-Derbyish as this one. If Beverly Hills Cop II is its opening salvo, this is going to be a long, smoggy summer. [20 May 1987]
    • Los Angeles Times
  27. The lack of suspense and surprise in this dispiritingly rote film becomes its own form of contamination.
  28. The Danish filmmaker's latest theater of the macabre is brutal, bloody, saturated with revenge, sex and death, yet stunningly devoid of meaning, purpose, emotion or decent lighting. Seriously. Artful shadows can certainly set a mood; too many and it merely looks like someone is trying too hard.
  29. The bizarro plot threads, and dippy characters fail to connect in any rewarding way, resulting in a largely unfunny film that proves as repetitive and tedious as the 1971 Philip Glass snippet that provides its entire score.

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