Los Angeles Times' Scores

For 9,845 reviews, this publication has graded:
  • 57% higher than the average critic
  • 5% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Jackie
Lowest review score: 0 Nothing Like the Holidays
Score distribution:
9845 movie reviews
    • 22 Metascore
    • 30 Critic Score
    Like an ugly tie or a pair of slipper socks, Black Christmas is destined to be forgotten the instant it's unwrapped, gathering dust until the season rolls around again.
  1. In the end, Take is too enamored of its time-shifting gimmick and cheap suspense to ultimately have much impact.
  2. All Echelon can offer is some wobbly action and views of Red Square.
  3. Ghoul can't decide whether it should be about cannibals, serial killers, ghosts or demons.
  4. At every turn the filmmakers have simplified, banalized and sentimentalized Alice and her psychological landscape in ways that reek of ignorance at best and cynicism at worst.
  5. Insights are few in this fan letter of a documentary.
  6. The movie's grandiose emotional quotient never feels any more real than its ham-fisted dialogue, dubious accents, strained "Kumbaya" moments or eclectic hairdos.
  7. Doesn't have the courage of its conceit, only an abundance of bad ideas and worse taste.
  8. There just aren't enough rescue dogs in the world to save "Rescue Dogs," a shrill, yappy live-action comedy that proves considerably more annoying than adorable.
  9. Had the film and its poky lead characters at least managed to pick up the sluggish pace, experiencing Buddymoon wouldn’t have felt like such a slog.
  10. That Les isn't one of LaBute's garden variety sadists is the best thing you can say about Dirty Weekend.
  11. The film never gives a real sense of the daily travails associated with traumatic brain injury.
  12. Director H.S. Miller thinks he's made something broodingly visionary when you're more likely to be aesthetically shaken up by one of Mad magazine's Fold-Ins.
  13. Beyond this general outline, plot and character development are afterthoughts, or maybe never-thoughts.
  14. Twisted is rubbish, but it looks good enough, moves fast enough and does improve as it progresses, principally because its plot disintegrtes to the point of outright comedy.
  15. The movie — glibly admiring of its hero's awfulness — is tone-deaf about genuine satire, assuming anything ugly (insults, nihilism, bloody violence) qualifies as sharp cultural commentary as long as the unceasingly venal, knowing narration explains it all for us.
  16. Although the performances, including that of Rebecca Romijn channeling Cybill Shepherd as a femme fatale type, are sturdy, their characters have been given absolutely nowhere interesting to go.
  17. Although writer-director Scott Walker seems committed to not overly exploiting his lurid subject matter, the movie is just too dreary, disjointed and generically creepy to be persuasive.
  18. Budgetary constraints aside, director John Putch struggles to find balance or generate a single spark from the clunky mix of romance, political diatribe and thriller.
  19. Suffers from the same ills as too many movies that preach to the choir: a laborious length, formulaic plot and dialogue and, disappointing for a film that stars a rapper, a stock score. Content aside, Molina's testimony isn't good cinema either.
  20. A lame, tedious comedy.
  21. The film might have gained some heft had director Ruby Yang let the transformations unfold before our eyes instead of force-feeding us testimonials.
  22. The bloodletting is blandly demure and the identity of the malefactor telegraphed too early.
  23. Novice screenwriter Craig Walendziak has followed England's template, charting the daily worsening of the symptoms. But he doesn't get that the 2013 "Contracted" was special because it was much more than a zombie flick.
  24. The underwhelming, would-be political satire Knife Fight plays more like a failed network TV pilot than the savvy feature it clearly set out to be. Think: Aaron Sorkin-lite, uh, really, really lite.
  25. What was presumably intended to play like a fable plays, instead, like an overly long car commercial crossed with a scare-mongering public service announcement.
  26. Burying the Ex is a genre-mashing low for Dante.
  27. The Lone Ranger exists without a convincing sense of jeopardy or, more critically, any place for audiences to emotionally connect.
  28. Get Hard... is certainly a better name than, say, Laugh Hard, which you won't do nearly enough.
  29. Good-natured and exuberantly politically - socially is more like it - incorrect, but it is woefully under-inspired and amateurish.

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