Los Angeles Times' Scores

For 8,094 reviews, this publication has graded:
  • 59% higher than the average critic
  • 4% same as the average critic
  • 37% 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 Rust and Bone
Lowest review score: 0 Half Baked
Score distribution:
8,094 movie reviews
    • 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
  1. 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.
  2. This is a bitter, occasionally farcical drama with the most hostile cinematic view of Los Angeles since "Crash."
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. More travesty than tragedy.
  13. 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.
  14. Depressing and airless.
  15. Stay past the credits, though, and you'll find a tongue-in-cheek rap video recap with the cast - and directed by star Dustin Milligan - that carries the kind of spoofy insouciance missing from the main attraction.
  16. The clichés alone doom the movie.
  17. The voyeuristic indulgences of a middle-aged filmmaker playing out his most deep-seated and unresolved sexual fantasies and anxieties.
  18. As boredom sets in, the viewer realizes that "The Covenant" does possess one magical power: It afflicts its audience with restless leg syndrome.
  19. A movie where the only conception of life seems to come from other movies makes for no kind of movie at all.
  20. Just the ticket for girls in their early teens.
  21. Larry Crowne is an inside-out movie, acceptable around the edges but hollow and shockingly unconvincing at its core. When that core is two of the biggest movie stars around - Tom Hanks and Julia Roberts - it's an especially dispiriting situation.
  22. There are rich veins to mine here had writer-director David R. Higgins bothered.
  23. The obnoxious sound design and score divest the film of much of its suspense, and perhaps more important characters have no survival instincts. The audience never has a chance to build some false hope that someone might make it out alive.
  24. Has plenty of warmth, affection and conventional wisdom, but too much of the time it plays out in routine fashion with moments of contrivance.
  25. For Sedaris fans, C.O.G. is a regrettably patronizing washout.
  26. Muddled by a setup with a religious bent that's never fully explored and an instance of euthanasia that's only tenuously related to the central plot.
  27. The movie is so glum and flat-footed there's no reason to care.
  28. One of those fever-pitched computer-generated whizbangs in which every character spits out lines like a caffeinated Catskills comic.
  29. Mostly, though, the movie is something of a snooze, a gabby PG-13 horror flick whose most shocking image might be the bored look on Gary Oldman's face as he goes through the motions of playing the rabbi in charge of dispatching the film's damnable demon to somewhere over hell's rainbow.

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