Los Angeles Times' Scores

For 9,829 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 Level Five
Lowest review score: 0 The Tiger and the Snow
Score distribution:
9829 movie reviews
  1. It never quite settles on whether it's a "Mean Girls" burlesque of teen life, an "American Beauty"-style bad-things-in-the-suburbs drama, or a wayward horror film. And it certainly never reconciles itself to successfully pulling off a hybrid of the three.
  2. Unfortunately, the climactic table-turning here feels more mechanical than cathartic and does little to elevate the film’s undistinguished narrative.
  3. A not very good romantic comedy made somewhat bearable by Faris.
  4. Instead of taking the audience in unfamiliar directions, filmmaker Mora Stephens (who wrote the script with Joel Viertel) is in such a heated rush to get to all the salacious bits, the story doesn't build crucial dramatic tension.
  5. Barker just hammers home the human-interest angle with a stirring score that serves to instruct the appropriate emotional response to each scene. The tacked-on uplift in the end is beyond comprehension, given that some of its subjects remain in peril.
  6. Those taking in Someone Else, an unconvincing, nonlinear drama about a pair of dramatically different Korean American cousins who are attracted to the same woman, will soon likely be wishing they had chosen to watch something else.
  7. From a storytelling perspective, the obsession with guns in a movie aimed at children is troubling, in poor taste and is lazy writing to boot.
  8. Laurence Fishburne is one actor who has charisma to burn, but even his incendiary performance can't ignite Hoodlum, a would-be gangster epic that generates less heat than a nickel cigar. [27Aug1997 Pg 8]
    • Los Angeles Times
  9. You could go see P.S. I Love You, or you could hit yourself on the head with a meat mallet -- it depends on the amount of time and money you want to devote to what amounts to roughly the same experience.
  10. Perhaps the vapid existence of millennials is precisely the point that co-writers Erik Crary and Steven Piet (who also directs) are driving at, but the film itself proves inarticulate and unsubstantial.
  11. Bell proves to be one tough cookie, but she's ultimately taken down by all the stiff, under-developed dialogue and iffy supporting performances.
  12. We get too little character development to be invested in the story and barely a glimpse at the horrific plight of enslaved people.
  13. Nightwatch is a seriously overcast B-movie with rote performances from everyone but Brolin, who gives James an edge of danger that says that if he isn't a killer, he will be.
  14. In some ways, The Man plays like a sequel to some terrible movie that was mercifully destroyed before it was ever released.
  15. One Night at McCool's is one night too much.
    • 31 Metascore
    • 30 Critic Score
    Too often is as garbled as Pootie's own jargon.
  16. With so little trust and even less dialogue to back him up, it's no wonder Li rarely takes his left hand out of his pants pocket. His fists aren't furious; they're on strike.
  17. There may once have been a real movie rattling inside the empty studio package known as The Big Bounce, but no longer.
  18. Filmmakers Scott Beck and Bryan Woods water down the element of surprise, even if they get the found footage shtick down to a science.
  19. Crushingly listless and at times as off-putting as a needle scratching vinyl, this corkscrew tale of questionable (and questioned) parenting, youthful misjudgments, grudges and disappointments doesn't even have the disciplined domestic-evil allure of a Lifetime movie.
  20. The movie is flatly acted and extremely ill-paced, lacking any sense of urgency, momentum or fun. "Romancing the Stone" it is not.
  21. So mild, so benign, its humiliation-to-vindication are so predictable and its old-folks jokes so feeble.
  22. Cheap silliness abounds, including car chases that are more about loud crashes and CGI than the thrill of speed.
  23. The direction by Gil Cates Jr. is inept at best, and the script by Cates and Marc Weinstock seems to operate under the assumption that trafficking in flabby clichés -- the kindly call girl, the scrappy youngster, the angry dad -- will somehow smooth over the underdeveloped characters.
  24. Rinsch, making his feature debut, shows the shortcoming of someone coming from the image-based world of commercials and advertising. There are moments of genuine beauty and a few terrifically eye-popping effects, but no feel yet for storytelling.
  25. GhettoPhysics undercuts its approach with too much cant, too much rambling and too much that is self-evident.
  26. The idea of a revenge comedy isn't necessarily a bad one, Bride Wars simply fails at it despite having the formidable duo of Kate Hudson and Anne Hathaway, who in their own distinctive ways usually command the screen.
  27. At the end, all is horrifically explained, the body count inflates, yet hardly anything makes sense. In Papa Lynch's films, little is explained, yet because he's so gifted at mining our deepest fears and scariest desires, logic is excused.
  28. Wilson's amiable vocal work keeps the predictability from becoming too grating.
  29. The trouble is, director Wayne Blair’s perfunctorily handled adaptation of Dalia Sofer’s 2008 novel is long on cardboard characterizations and short on genuine tension.

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