Los Angeles Times' Scores

For 8,566 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 Before Sunset
Lowest review score: 0 Hudson Hawk
Score distribution:
8,566 movie reviews
  1. Pedestrian and awkward, this film is a disappointment not only in comparison with Lee's earlier epic, the underrated " Malcolm X," but also in comparison with another film with similar aims, Rachid Bouchareb's "Days of Glory."
  2. Only during the movie's sweet epilogue do we get a sense of what Friended could have been had the filmmakers taken a smarter, gentler, more human approach.
  3. Not clever or polished enough to be successful as farce, unwilling to supply any reason to care about any of its characters, unable to make the points about the role of fashion in society it thinks it is, "Ready to Wear" is madness without the usual Altman method.
  4. A true tale of high school football achievement becomes a strained, by-the-numbers grab bag of uplift in the Christian sports drama When the Game Stands Tall.
  5. A tedious comedy... It's not the worst premise for humor dashed with a little wisdom, but the script, written by the film's star Eddie Griffin and others, is less than inspired and tends to blur the line between immaturity and just plain stupidity.
  6. Fairbrass has a certain rugged sincerity and appealing sense of barely coiled rage, but it's mostly wasted in a screenplay (by director Brian A. Miller) of gaping plot holes, wan excitement and dumb action cliches.
  7. The slickly produced documentary Farmland often comes off like lobbyist propaganda, profusely extolling the virtues of the independent American farmer.
  8. Director Hilarion Banks dutifully captures all of it in a series of nicely shot extended takes, which would have been fine if the cast had been able to interact in some sort of uniform tone.
  9. The faith-based impetus behind this redemptive, family-friendly, American Revolution-era yarn is placed front and center amid all the digitally assisted derring-do and skulduggery.
  10. A structural, chronological mess of information and emotion, so chaotically shot and edited to move from stat to image to sound bite that it suffers from its own concentration issues.
  11. Directors Ben Stassen and Jérémie Degruson have assembled so many clichés and bits borrowed from other films that "Thunder" feels like a rerun on its first viewing.
  12. Loaded as it is with undeveloped notions about feminism and individuality, nothing about it is really memorable except the appealing musicality of the fine k.d. lang/Ben Mink score, which deserves better. [20 May 1994]
    • Los Angeles Times
  13. In the wake of "Bridesmaids," Sandler's lipsticked tomfoolery - and inability to share the screen with genuinely funny women - feels particularly regressive and stale. Both movies have diarrhea gags, but only one feels defined by such humor.
  14. For all the emotional onion-peeling here, little is revealed that's surprising, unique or particularly deep.
  15. It's essentially a glorified PowerPoint presentation that juxtaposes archival footage — an echo chamber of interviews, readings and performances taken entirely out of context — with amateurish stock footage and a short running time.
  16. What really hampers Miles to Go is its aimless wandering. Many things could be forgiven with some growth or movement in the journey, but ultimately, this one just ends up running in circles.
  17. The invitingly loud Melendez posits herself as both a victimized failure and a triumphantly persevering pioneer, and though one can certainly be both, the film doesn't say anything new or meaningful about the industry she's been dying to join for the last two decades.
  18. It's called The November Man, but it's really just another forgettable August release.
  19. Self-conscious, tonally uncertain and thematically vague, The Big Ask is a premise in search of a movie, one that co-directors Thomas Beatty and Rebecca Fishman never quite find.
  20. Contrived and predictable yet fairly tense.
  21. Too sophomoric to be believed.
  22. The Identical is ultimately too schematically sentimental, even with Liotta playing against type, to have much of an impact.
    • 51 Metascore
    • 30 Critic Score
    The movie is all surface, loudly clamoring for attention and then losing its voice.
  23. Jaglom is too spiritually and cinematically lazy to do anything but evoke glib, artless solidarity, and let us know he's heard of Twitter and Facebook.
  24. Deception would be laughably bad if it weren't so rotely inert.
  25. An accidental entertainment, Equilibrium is a science-fiction pastiche so lacking in originality that if you stripped away its inspirations there would be precious little left.
  26. The movie straitjackets Keaton into a humorless, table-pounding role.
  27. The barbs feel stale at best, squandered at worst, and the ominous music that accompanies each sounds as if it has been lifted from the silent movie era.
  28. The melody may be as old as the Bible, but The Song could have benefited from a fresher voice.
  29. 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.

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