Los Angeles Times' Scores

For 7,892 reviews, this publication has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 The Gatekeepers
Lowest review score: 0 Bio-Dome
Score distribution:
7,892 movie reviews
  1. Something certainly blows here, but it isn't the archangel's horn.
  2. Hansel and Gretel are this movie's breakout stars, but it's not enough to make Hoodwinked Too feel like anything but a storybook hurled straight at your head.
    • 21 Metascore
    • 30 Critic Score
    The problem is that it doesn't find a lot of laughs in much of anything, referential or otherwise. [7 Jan 1994]
    • Los Angeles Times
  3. Grant has never been less charming and Parker never less fashionable or more grating than they are as Paul and Meryl Morgan.
  4. Where "Superbad" found something raucously winning in hanging with adolescence's loser elite, Harold is a disingenuous, one-note underdog portrait.
  5. A consistently underused and often underrated actor, Kinnear gives one of those sympathetic performances that prevent you from believing the worst about a movie despite the sounding alarms.
  6. All that's missing from Just Like a Woman, Rachid Bouchareb's salute to "Thelma & Louise," is the quality.
    • 28 Metascore
    • 30 Critic Score
    Like a hall of mirrors, casting back at us distorted images from other movies. It even calls to mind "The Sixth Sense." It isn't engaging in the least.
  7. For a film that purports to be about the process of maturity and growth, it is woefully un-evolved, lacking in understanding and insight.
  8. My hand trembles slightly as I type these words, but the truth is that while watching 2 Fast 2 Furious, the follow-up to the pleasurably cheap-thrills sleeper "The Fast and the Furious," I realized just how much I miss Vin Diesel.
  9. A dismal pastiche of threadbare plot devices and not-so-comic interludes.
    • 37 Metascore
    • 30 Critic Score
    Director Frederik Du Chau's big-screen Underdog has all of the cartoons' crudeness and none of their charm. It's the celluloid equivalent of sugar cereal: cheap, empty and headache-inducing.
  10. Admirers of Rambo III will probably point out that it moves fast. But then, so does a gazelle-and a gazelle has better dialogue and more personality. [25 May 1988, p.1]
    • Los Angeles Times
  11. Good-natured but it's a dud.
  12. The sage-elder/wayward-charge saga Peaceful Warrior aims for inspirational highs but mostly feels like a self-help book read aloud by actors.
  13. The movie perks up during Dinklage's scene as an escort, and screeches to a painful halt for a few conversations with God, who's played by a cloud-roosting Whoopi Goldberg. In a sophomore letdown from "The Woodsman," director Nicole Kassell gives the film no energy or rhythm, while the script pushes all the pre-set buttons.
  14. Feels like a failure on all fronts - unpleasant to look at, needlessly in 3D, drearily unfunny and worst of all an incomplete portrait of the person to whom it is ostensibly paying tribute.
  15. It is incredibly tempting to resort to the implied off-color word play made possible by the Focker name and suggest that this third edition is totally - but I won't.
  16. Besides never knowing where to stick a camera, or how long a given scene should last, Hopkins quickly ditches any potentially subversive joy in her cartoon vigilante by saddling her with a redemptive love story opposite James Badge Dale's kind-eyed sheriff.
  17. It's a portrayal so unconvincing it makes it close to impossible for the rest of the film to function as intended.
  18. What we may very well be looking at here is another "Showgirls," a drag camp-fest for the "Baby Jane" crowd, fabulous fodder for future cabaret acts, and a pleasure probably best enjoyed in a crowd -- preferably a vocal one. Dead serious and stone idiotic, the only basic instinct in evidence here is desperation.
  19. The film is strictly straight-to-video action movie stuff, albeit with dialogue in iambic pentameter.
  20. Yet that deeply strange and agitated performance by Quaid is the only thing that makes the film remotely bearable.
    • 35 Metascore
    • 30 Critic Score
    Farnsworth's frenetic, often hysterical first feature tries desperately to find a style, or styles, to call its own, but there's never a moment that doesn't feel as if it's been chewed up and spit out a dozen times before.
    • 46 Metascore
    • 30 Critic Score
    Peel away the layers of contrivances, however, and the leftover plot barely fills a doggy bag.
  21. All strained artifice, inhabited by individuals who either lack dimension or are merely stereotypes. The result is a movie not nearly as amusing as its makers may think.
    • 36 Metascore
    • 30 Critic Score
    If you swiped the most insipid dialogue of the teenage-angst movies of John Hughes and Kevin Smith and Amy Heckerling, you would still have a script -- and a movie -- far superior to the newest of the genre, Remember the Daze.
  22. Pretty dreadful.
  23. Erased is eminently forgettable.
  24. It's unclear who this blandly titled drama is aimed at — devoid as it is of humor or any real hazard and lacking the provocative undertones of its source material.

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