Los Angeles Times' Scores

For 8,703 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 0.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Muriel's Wedding
Lowest review score: 0 Being Human
Score distribution:
8703 movie reviews
  1. 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.
  2. 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.
  3. It's called The November Man, but it's really just another forgettable August release.
  4. 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.
  5. After an hour or so of bad noir dialogue and convoluted plotting, viewers may wish they could jump back in time and watch something else.
  6. Contrived and predictable yet fairly tense.
  7. Too sophomoric to be believed.
  8. 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.
  9. 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.
  10. Deception would be laughably bad if it weren't so rotely inert.
  11. 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.
  12. The movie straitjackets Keaton into a humorless, table-pounding role.
  13. 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.
  14. The melody may be as old as the Bible, but The Song could have benefited from a fresher voice.
  15. 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.
  16. Though the photographs are memorable, the photographer is not.
  17. 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.
  18. 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
  19. 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.
  20. 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
  21. A leaden mash-up of western and science-fiction elements that ends up noisy, grotesque and unappealing.
  22. 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.
  23. 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.
  24. Much of the humor is overly familiar, and the broader elements feel strained when it veers toward melodrama in its final third.
  25. Melts swiftly...don't expect a shred of credibility.
  26. All cartoon and no charm.
  27. Despite Redford's enthusiasm and best efforts, A Walk in the Woods is a tedious journey to nowhere special.
  28. 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.
  29. 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.

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