Los Angeles Times' Scores

For 8,236 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 0.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Mad Max Beyond Thunderdome
Lowest review score: 0 Dead Silence
Score distribution:
8,236 movie reviews
  1. Melts swiftly...don't expect a shred of credibility.
  2. All cartoon and no charm.
  3. 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.
  4. 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.
  5. The laughs here are lazy, and any sense of logic is definitely on the lam.
  6. 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.
  7. The Mortal Instruments: City of Bones is just a sloppy rag bag of ideas cobbled from other stories.
  8. 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.
  9. 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.
  10. Rarely do you sense that any key performer was ever in the vicinity of a real animal.
  11. 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.
  12. It's tedious instead of provocative and so unconvincing as to be preposterous.
  13. 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.
  14. 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.
  15. 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.
  16. 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
  17. 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.
  18. This is a bitter, occasionally farcical drama with the most hostile cinematic view of Los Angeles since "Crash."
  19. 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.
  20. Director Will Gluck's glam, grim re-imagining of the Depression-era musical about the hard-hearted rich man and the little girl who melts him, is truly depressing.
  21. Johnson, on his maiden voyage as director, treats every scene as if it were a bonbon, almost too precious to consume, and Marc Shaiman's score is a running series of mood cues.
  22. After the quiet, dread-filled punch of the first half-hour — when it seems vampire culture is going to get turned on its head — Iwai's character study mostly descends into a pretentious slog.
  23. Max
    Just because people are objecting to Max for all the wrong reasons doesn't make it a good film, and it's not. It's a bizarre curiosity memorable mainly for the way it fritters away its potentially interesting subject matter via a banal script, unimpressive acting and indifferent direction.
  24. Corrado Jay Boccia's directorial debut strikes as almost passable, with a relatively known cast and elaborate stunts. But his inexperience rears its ugly head as the film never musters real suspense and urgency.
  25. A poorly structured and even more poorly shot mixture of a gothic suspense thriller with a vanilla romance filmed in Des Moines, Dead Awake never comes close to springing to life.
  26. The method to Von Trier's madness is that he provokes thought alongside outrage in his parables. Here, Gebbe musters only outrage, as her antagonists are without nuance, mercy or any redeeming quality.
  27. A trying experience. As we watch Rochester fall apart in spectacular fashion, it's clear that a major lure for the venturesome Depp was the chance to play a grotesque, to become a pestilent physical wreck with an artificial silver nose. There's more in that role for the actor, however, than there is for us.
  28. More travesty than tragedy.
  29. Machete Kills winds up a slightly camp, tinny parody of bad action movies, playing out with the same sense of tedium as a genuine bad action movie.

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