Los Angeles Times' Scores

For 7,464 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 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Elena
Lowest review score: 0 The Hottie & the Nottie
Score distribution:
7,464 movie reviews
  1. Twisted is rubbish, but it looks good enough, moves fast enough and does improve as it progresses, principally because its plot disintegrtes to the point of outright comedy.
  2. Such a classic combination of feckless dramaturgy and rampant excess that giving way to giggles is the only sane response.
  3. Turns out to be a tedious and under-inspired comedy.
    • 35 Metascore
    • 30 Critic Score
    A low-voltage drive-in movie, made strictly by the book.
  4. A complete waste of time and potential.
  5. Despite that frisson of naughtiness and the occasional smile, Jersey Girl is overall too bland to hold our interest.
  6. An uncharacteristic if unsurprising dud.
  7. Played by DMX in a gravel-pit monotone and a near-total lack of affect, King David cuts an unremittingly tedious swath through Never Die Alone.
  8. This documentary-like realism, alas, only underlines the preposterousness of its plot with its torrent of contrived, credibility-defying cliffhangers.
  9. Embedded between all the sex and sunlight are some woefully underdeveloped ideas about American militarism and masculinity. Dumont doesn't bother to develop these ideas, principally because he seems to think it's enough to arrange his characters like puppets and tear off their heads.
  10. 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.
  11. Unlike Tracy and Hepburn, the loving and loathing here are absent music and wit and tend to imply that what Moore's character really needs is a good frolic.
  12. There's some technical dexterity in melding the various formats and capturing some impressive surf footage, but the shaggy dog nature of the story proves exhausting.
  13. Much of the humor is overly familiar, and the broader elements feel strained when it veers toward melodrama in its final third.
  14. Far more troubling than the documentary's lack of data and analysis, its refusal to pose even basic questions -- whether, for instance, the so-called war on drugs is a total farce -- is the sense that these seven lost souls are principally on display for our viewing displeasure.
  15. Turns out to be a thudding dud, crammed with clunky dialogue, bad acting and gruesome but unpersuasive gore. Mindhunters will pass muster with only the most undemanding horror fans.
  16. Nothing is allowed to build, so there is no tension or surprise left for the film's climax, resulting in a reductively pulpy rehash of 20th century American drama.
  17. Not since John Travolta sprouted a head of dreadlocks and strapped on platform boots for "Battlefield Earth" has cinematic science fiction been such good-bad fun as in The Chronicles of Riddick.
  18. Severely marred by a plot device so ludicrous it turns a serious drama into something silly.
  19. Johnson, on his maiden voyage as director, treats every scene as if it were a bonbon, almost too precious to consume, and Marc Shaiman's score is a running series of mood cues.
  20. Something certainly blows here, but it isn't the archangel's horn.
  21. It's tedious instead of provocative and so unconvincing as to be preposterous.
  22. An elegant tale of romantic obsession weighed down by a needlessly convoluted plot that yields far more confusion than psychological suspense.
  23. Good-natured but it's a dud.
  24. The visceral thrills do not make up for the ultimate banality of the movie.
  25. It might even have made a good film, but it hasn't. In the hands of stars in denial about their stardom and a director who can't be bothered to take things seriously, it has come out implausible and unsatisfying, a comic thriller that is not especially funny or thrilling.
  26. At once corny and precious, its humor seems too heavily ethnic to travel well.
  27. A garishly slick piece of exploitation with surprisingly high production values but nary a moment of suspense.
  28. The movie is so glum and flat-footed there's no reason to care.
  29. Goofy and gee-whiz when it isn't being post-apocalyptic glum, it is such an earnest hodgepodge that only by imagining "Mad Max" directed by Frank Capra can you get even an inkling of what it's like.

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