Los Angeles Times' Scores

For 7,955 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 Mr. Turner
Lowest review score: 0 Fair Game
Score distribution:
7,955 movie reviews
  1. The rest of Seven Pounds feels like a half-hour "Twilight Zone" script that has been pressed onto a gob of Silly Putty and stretched to the sinking point.
  2. The ludicrous and bloody New Orleans melodrama Repentance offers the despairing sight of talented actors in full flounder.
  3. The stars' banter is insipid and unfunny, the wacky shocks short out and, most unforgivably, the car chases are a snooze, filmed as a series of stationary close-ups and diced in the editing room until they suggest anything but movement.
  4. The best of the Alex Cross mess suggests that as an actor, he has the talent to move beyond the world of Madea should he want to. He just needs to look for much better material.
  5. Lifeless and laughless.
  6. Nearly as unwatchable as it is unpronounceable.
  7. Whitney takes having it both ways to new heights -- depths is perhaps more like it. He satirizes reality TV while showing total nudity and at times carrying sex to the verge of soft-core porn. As titillating and energetic as the film is, it is also rather sad because it reveals what aspiring actors will endure for what they apparently regard as an opportunity.
  8. With no plot, character or dialogue worth experiencing, let alone remembering, the film merely occupies space on the screen and hopes for the best.
  9. Writer-director Susan Montford eschews all plot and character development for the hackneyed action scenes and grade-Z dialogue, while struggling to stretch the paper-thin story into a feature length film.
  10. The result is high school English crossed with "Waiting for Guffman," though the humor is largely accidental.
  11. Hollow, simple-minded and about as profound an experience as stepping in a pile of road kill.
  12. Chow is actually an apt metaphor for the movie - indescribably irritating and only in it for the money.
  13. It is a series of free-associating non sequiturs underscored by nonillustrative graphics and an intrusive soundtrack.
  14. When the outtakes at the end don't make you laugh, what does that tell you about the movie that preceded them?
  15. The script has no nuance, none. And when Shyamalan moves into the director's chair, the script problems are magnified. Everything is spelled out, underlined in red.
    • 27 Metascore
    • 20 Critic Score
    Murphy and his brother Charlie, who collaborated on the screenplay, seem to have drawn the wrong lesson from the latter's stint on "Chappelle's Show." Where Dave Chappelle used stereotypes to confront prejudice, the Murphys (and their co-screenwriters Jay Scherick and David Ronn) merely squeeze a few grudging drops from caricatures that were wrung dry in the age of vaudeville.
  16. With the excruciating gal-pal comedy Apartment Troubles, writer-director-stars Jess Weixler and Jennifer Prediger have created such blurry, unappealing characters that their film is hamstrung from the get-go.
  17. By any rational standard, this film is kind of a mess. Even if you agree with its politics, you will probably weep at the ineptitude of it all.
  18. Aside from the film's double-entendre title and typical slasher-movie poster, director Quist and screenwriter Ponickly have given us nothing to fear.
  19. Originally titled "Fast Track" when it was scheduled to open last January, neither the wait nor the new title makes it worthwhile. The only fast track here is the one to home video.
    • 17 Metascore
    • 20 Critic Score
    Even with the low expectations The Legend of Chun Li engenders, it still somehow manages to be a letdown.
  20. Little more than an 88-minute "it has a mind of its own" gag, Bad Johnson should have kept its premise in its pants.
    • 25 Metascore
    • 20 Critic Score
    It could have used several more passes on the screenplay to strengthen the gags and flesh out the characters.
  21. Rock is undisputably gifted and charismatic, but when Down to Earth takes his edge away, the film's energy goes with it. And without energy, no comedy can survive.
  22. A movie of such snowballing stupidity that it's a wonder the actors could keep straight faces while shooting it (outtakes, please!).
  23. Like so many filmmaking wunderkinds who could have used a course in common sense, Glanz is technically assured but emotionally hollow.
  24. So exasperating in its contradictions, so frustrating in its fakery, so deeply irritating in its pretensions, it's frankly hard to know where to begin to dissect it.
  25. Co-writer and director David Aarniokoski's clunky, crude blotch of prurience and bloodletting is too self-satisfied with its wink-wink naughtiness to be either fun-dumb or scary-sexy.
  26. The only thing remotely resembling parody in this depressing waste of time and money is Jennifer Coolidge's sendup of Barbra Streisand as an over-the-top string of Jewish mother clich├ęs.
    • tbd Metascore
    • 20 Critic Score
    Writer-director-producer Glen Stephens does occasionally have grim fun, but something as irredeemably sadistic as this packaged as entertainment is almost depressing.

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