Los Angeles Times' Scores

For 9,751 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 Heli
Lowest review score: 0 The Cell
Score distribution:
9751 movie reviews
  1. Aside from preserving these folks for a presumably grateful posterity and convincingly depicting Austin as an open-air lunatic asylum, Slacker does not offer much to anyone who likes to stay awake.
  2. The unfocused Undrafted ultimately possesses all the dramatic intrigue of an intentional walk.
  3. If La Bare had snarky voice-over narration, it could be a segment on "The Colbert Report."
  4. A one-dimensional movie painted in painfully broad strokes and whizzing, hurry-scurry action sequences.
  5. The three leads go through the motions with goofy geniality, and director Chris Koch has enlisted some consummate character actors -- to help hold up the sagging jokes and story line.
  6. Keeps its audience in the dark -- literally and figuratively -- far too long to be of much use besides as a patience-trying exercise in reference spotting.
  7. Andreas is way too low-energy to hold the screen as the film's lead, but he was wise to surround himself with a talented cast. Unfortunately, the wooden dialogue and overall shallowness of the writing keep the film from being even an amiable diversion.
  8. Breathless, uninspired January junk that feels like the iffiest bits of a Lifetime movie and late-night cable schlock slapped together. (And not erotically.)
  9. Someone has driven a stake through the heart and ripped out the soul of the 1980 original. The responsible parties, make that irresponsible parties, should be found, thrown in movie jail and not allowed within 50 feet of a set again. Ever.
  10. The two-plus hours is mostly marked by an emptiness born of scene after scene designed to blatantly manipulate emotions rather than trigger them.
  11. Little more than an extended excuse for a soundtrack.
  12. Not only are none of these characters particularly fun to be with, but the inevitable violence that enters their lives is strong and unpleasant. [03 Sep 1993]
    • Los Angeles Times
  13. By the end of the film, you're left with the unshakable feeling that everyone involved, from actors to filmmakers to the audience, is, and should have been, better than material like this.
  14. A comedy so inane and tedious that it buries its premise and its various worthy points under too many arch and improbable shenanigans and endless dialogue, much of it seriously under-inspired.
  15. The entire film has an oddly underdone quality to it, as if aiming not for greatness but to simply be passable.
  16. The aim here seems to be to replace startled gasps with shocked guffaws. The results are contrary to Scout Law — not Kind, Clean or Reverent.
  17. The celebrity soup that is Love the Coopers is, indeed, a mess, the kind in which the screenplay by Steven Rogers...is made more chaotic by Jessie Nelson's tonally smeary direction.
  18. The look of the animation has limited charm. The story is primarily a string of life lessons for little ones, impossible to miss. And there is a great deal of singing. I don't think even fools will fall in love with Strange Magic.
  19. While fans can appreciate all the winks and nudges, the film is a wreck for the uninitiated.
  20. There is plenty of nasty patter and aimless jokes about hard-core sex, soft-core drugs, dog feces and flatulence to keep you occupied while you wait, in vain, for any reason to laugh out loud.
  21. An action fan could be forgiven for the medicinal taste that this slick but dissipating exercise leaves behind.
  22. The performers fully commit to their unlikable parts but, at least as written, even the best actors couldn't create compelling, relatable characters out of this messed-up bunch.
    • 45 Metascore
    • 30 Critic Score
    There are no laughs to be found in writer-director Michael Traeger's would-be comedy The Amateurs, but there is one big mystery: how actors of this caliber could have been convinced to take part.
  23. In his first feature outing, director Soham Mehta overplays the significance of virtually every aspect of Rajiv Shah’s script, no matter how minor, with painfully slow pans and needlessly lingering establishing shots.
    • 27 Metascore
    • 30 Critic Score
    The film is more polarizing than persuasive.
  24. Devoid of verbal wit, instead relying on a relentless stream of Looney Tunes-inspired violence.
  25. Director Simon Brand devotes so much running time to fear-mongering and grotesque stereotypes that a last-ditch effort at moral ambiguity and a critique on muckraking barely register.
  26. Irritating, childish and more frantic than funny, Cats & Dogs does manage some few pleasant moments, but they are not worth waiting for.
  27. Bubbly to the point of indigestion and mechanical about ticking off the romantic trajectory.
  28. Cult comedy team Tim Heidecker and Eric Wareheim take the mechanics of the Funny or Die website and stretch it past the breaking point with their movie.

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