Los Angeles Times' Scores

For 9,670 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 Hoop Dreams
Lowest review score: 0 What Love Is
Score distribution:
9670 movie reviews
  1. For a film that purports to be about the process of maturity and growth, it is woefully un-evolved, lacking in understanding and insight.
  2. 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.
  3. 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.
  4. While its heart is in the right place, Welcome to Happiness is too fixated on its twee peccadilloes to truly succeed.
  5. 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
  6. It feels at once overwritten and thematically thin, coasting on a cutesy concept before descending into relentless, and therefore meaningless, violence.
  7. Good-natured but it's a dud.
  8. The lack of any likable characters ultimately undoes Urge. Kaufman and Stahl have made a classic party-throwers mistake: overrating the entertainment value in watching other people get high.
  9. The sage-elder/wayward-charge saga Peaceful Warrior aims for inspirational highs but mostly feels like a self-help book read aloud by actors.
  10. Tower to the People means well, and Tesla deserves his own movie, but it's like being cornered by a zealot: an educational slog that morphs into an infomercial.
  11. Aside from a few good jump-scares and a couple of original plot twists, Wrecker spends most of its running time cutting between footage of the roadster and footage of the truck, apparently assuming viewers will take those images and use them to imagine something more exciting.
  12. Well-intended seriousness dismantles Regression, a not-exactly-horror horror movie that's also a mystery with no mystery.
  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. The good news about After Words is that it offers Marcia Gay Harden a rare film lead. The bad news: Harden's role in this groan-worthy dramedy is so dreary and ill-conceived that even her formidable talents can't bring it to life.
  15. 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.
  16. In the end, you'll either succumb to the silliness of it all and cheer Johnny B. on to his green card or, more likely, be in desperate need of your own exit visa.
  17. 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.
  18. 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.
  19. It's a portrayal so unconvincing it makes it close to impossible for the rest of the film to function as intended.
  20. 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.
  21. Director Akan Satayev’s hacker thriller looks gorgeous, featuring locations around the world shot with crisp cinematography by Pasha Patriki. However, the script from Sanzhar Sultan is poorly structured and silly, revealing the emptiness beneath the shiny facade.
  22. The film is strictly straight-to-video action movie stuff, albeit with dialogue in iambic pentameter.
  23. 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.
  24. Director Kishan SS has made Care of Footpath 2 (a.k.a. Kill Them Young) as a bombastic, overlong melodrama that doesn't recognize the occasional need to takes things down a decibel or three.
    • 46 Metascore
    • 30 Critic Score
    Peel away the layers of contrivances, however, and the leftover plot barely fills a doggy bag.
  25. 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.
  26. Pretty dreadful.

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