Los Angeles Times' Scores

For 8,325 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 0.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Inherent Vice
Lowest review score: 0 What Love Is
Score distribution:
8,325 movie reviews
  1. One can't help experiencing the same dread about the exhausting flood of lackluster horror films that swamp our screens and, as Case 39 unfolds, realizing we're enduring one more.
  2. Though the photographs are memorable, the photographer is not.
  3. Li's far too unthreatening a presence to cause much of a stir amid the din of hard rock music and the pall left by fight choreography that has had every last bit of life digitally drained away.
  4. The astonishing thing about Raising Arizona is how it can move so fast, be so loud, and ramain so relentlessly boring at the same time. [20 Mar 1987]
    • Los Angeles Times
  5. Without dwelling on the limited abilities of novice British filmmakers Tom and Charles Guard (a.k.a. the Guard Brothers) -- who seem to have divvied up duties here by having one sibling focus exclusively on close-up shots of doorknobs and the other oversee everything else -- the movie's fatal flaw is the undeveloped relationship between the two sisters.
  6. The best the makers of Down to You can hope for is that girls in their early teens--clearly the film's target audience--will be so carried away by its charismatic stars that they'll overlook the film's various flaws.
    • Los Angeles Times
  7. A leaden mash-up of western and science-fiction elements that ends up noisy, grotesque and unappealing.
  8. The gratingly underdeveloped plot has all the dramatic effect of a toddler with her hands behind her back chirping, "Guess what I've got?" for more than an hour.
  9. No image or moment is grounded – every shot is augmented with restless animation, smart-ass narration or video game sounds. The artificiality of it all is smothering.
  10. Much of the humor is overly familiar, and the broader elements feel strained when it veers toward melodrama in its final third.
  11. Melts swiftly...don't expect a shred of credibility.
  12. All cartoon and no charm.
  13. Although this film doesn't miss the whole point of found footage as the recent "Into the Storm" did, Jung does little to help suspend our disbelief.
  14. Kept in check by his character's neuroses, Pearce holds our attention throughout, but it isn't until near the end that he manages to break free of his character's and his director's inhibitions.
  15. The laughs here are lazy, and any sense of logic is definitely on the lam.
  16. Jeremy Leven's attempt at old-school romantic comedy, set in a postcard-pretty tourist's vision of Paris, is more of a foolish plod than a weightless rollick.
  17. The Mortal Instruments: City of Bones is just a sloppy rag bag of ideas cobbled from other stories.
  18. Played by DMX in a gravel-pit monotone and a near-total lack of affect, King David cuts an unremittingly tedious swath through Never Die Alone.
  19. Nothing is allowed to build, so there is no tension or surprise left for the film's climax, resulting in a reductively pulpy rehash of 20th century American drama.
  20. Rarely do you sense that any key performer was ever in the vicinity of a real animal.
  21. Audiences probably often wonder when the reality genre is finally going to eat itself. American Cannibal stands ready for that moment with a bib and vinegar.
  22. It's tedious instead of provocative and so unconvincing as to be preposterous.
  23. In the parlance of "The Player," Katrina Holden Bronson's Daltry Calhoun would be pitched as "Because of Winn-Dixie" meets "Napoleon Dynamite," and that is definitely not a good thing.
  24. 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.
  25. The film's oddball assortment of broadly played characters feel like sketch comedy escapees stretched beyond their limits, an attempt to fill the demands of a feature-length canvas.
  26. The movie is a pastiche of tortured slapstick, groan-inducing dialogue and a lethal dose of treacle, apparently awaiting one of Williams' trademark sprees of riffing and vamping to save the day. That moment never comes, however.
    • 33 Metascore
    • 30 Critic Score
    If you think that Martin Lawrence dressed up as a hefty grandmother is funny, be gone with you .For the rest of you, you'd be better off just taking a ride on the bus. The script.. .is off and stumbling over unfunny one-liners.
    • Los Angeles Times
  27. First-time writer-director John Alan Simon simply doesn't have a strong enough grip on the movie's narrative, pacing or performances to surmount the pitfalls of this ambitious, budget-conscious effort.
  28. This is a bitter, occasionally farcical drama with the most hostile cinematic view of Los Angeles since "Crash."
  29. A stew of cheap irony, ponderous but meaningless allegory, violence and pretension, the movie is all borrowed style and calculated pandering. It does, however, get more ludicrous by the minute. So in that sense, it's good for an occasional laugh.

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