Los Angeles Times' Scores

For 8,235 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 0.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Mad Max Beyond Thunderdome
Lowest review score: 0 Dead Silence
Score distribution:
8,235 movie reviews
  1. Depressing and airless.
  2. 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.
  3. The clichés alone doom the movie.
  4. The voyeuristic indulgences of a middle-aged filmmaker playing out his most deep-seated and unresolved sexual fantasies and anxieties.
  5. As boredom sets in, the viewer realizes that "The Covenant" does possess one magical power: It afflicts its audience with restless leg syndrome.
  6. A movie where the only conception of life seems to come from other movies makes for no kind of movie at all.
  7. Just the ticket for girls in their early teens.
  8. 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.
  9. There are rich veins to mine here had writer-director David R. Higgins bothered.
  10. 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.
  11. Has plenty of warmth, affection and conventional wisdom, but too much of the time it plays out in routine fashion with moments of contrivance.
  12. For Sedaris fans, C.O.G. is a regrettably patronizing washout.
  13. 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.
  14. The movie is so glum and flat-footed there's no reason to care.
  15. One of those fever-pitched computer-generated whizbangs in which every character spits out lines like a caffeinated Catskills comic.
  16. 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.
  17. Invites the kind of judgment it condemns.
  18. Six has in essence backed himself into a rhetorical corner, leaving as perhaps the only option for his next stunt something in which the filmmaker Tom Six winds up with his mouth surgically attached to his own anus.
  19. Depending on your revenge story preferences, the brutally pretentious Descent is either a payback flick with an agonizingly formless middle, or a soul-darkening head trip bracketed by a crude vengeance tale. Mostly, though, it's indie provocation trapped between shock and blah.
  20. The story goes slack onscreen, so much so that the movie's two-plus hours will seem an eternity.
  21. Low comedy doesn't get any lower than Love Stinks.
  22. A bad movie for connoisseurs of the genre.
  23. Writer-director Abe Sylvia slathers on the cartoonish characterization and neon-colored '80s pop - Benatar! Joan Jett! The Outfield! - for an easy-bake mood-setting, which is tedious enough. But his attempts at situational humor on the road - including a stripping scene for Dozier as coming-out metaphor - fall embarrassingly flat.
  24. They try to get 'real' about strange occurrences. Instead they get ludicrous.
  25. Any potential enjoyment here is fatally undermined by the film's barely developed characters, self-conscious dialogue ("I will wax his tugboat!") and repetitive imagery.
  26. Falling Down encourages a gloating sense that we the long-suffering victims are finally getting our splendid revenge. The ultimate hollowness of that kind of triumph reflects the shallowness of a film all too eager to serve it up. [26 Feb 1993, p.1]
    • Los Angeles Times
  27. Did I mention the dialogue? Well, really the armored car driver put it best when he said, "We're in trouble here…" No joke.
  28. A complete waste of time and potential.
  29. The film lacks inspiration or zest in storytelling, performance or action. This is pure product, a movie desperately without energy or enthusiasm of any kind.
  30. To be fair, there are moments that earn their laughs and nostalgic memories for the marriage that was and the relationship that is that are sweet. But like many big weddings — a lot of things go wrong and not much goes right.

Top Trailers