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 Go
Lowest review score: 0 Saw VI
Score distribution:
9670 movie reviews
  1. By the umpteenth disruptive shock-cut and patiently framed shot of Carter staring us down, Darling has worn out its welcome even as a mood piece.
  2. Erased is eminently forgettable.
  3. 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.
  4. The film's theory, that maybe we're all living two parallel lives -- if we even exist at all -- is intriguing, but it's rarely taken beyond the notion that Danny's just dreaming it. The result is, to be charitable, underwhelming, narratively and visually.
  5. Coppola decided that he really wasn't making a horror film after all, but rather a love story, a comic burlesque, a costume drama, a piece of erotica, whatever. But no matter what else you do with it, a Dracula that cannot manage to be more scary than silly is as pitilessly doomed as that elegant old Transylvanian himself. [13 Nov 1992]
    • Los Angeles Times
  6. It's a shame that what could have been an intriguing situational thriller devolves into a hateful, arduous drag
  7. So instructional is the film, directed by Brook's son, Simon, that it feels like one of those P90X or Insanity home fitness programs: Try this at home. You too can perform on stage.
  8. The climactic collision of agendas is even more contrived than everything leading to it.
  9. There are any number of aspects to The Invisible Circus that simply don't ring true.
  10. There’s enough weirdness for Yoga Hosers to possibly generate some stoner cult appeal, but it’s shoddily slapped together, with a clearly first-draft script, terrible editing (by Smith the elder) and continuity errors.
  11. Opens and closes on a jaunty note: It's the tedious, relentlessly talky 80 minutes in between that's the problem.
    • tbd Metascore
    • 30 Critic Score
    Although viewers have been dealt this sort of hand countless times before, director Zack Bernbaum lays it all down with little discernible style or dramatic heft, signaling the plot's obligatory turned tables and double crosses well ahead of their appearance.
  12. SlingShot has about enough material to fill one interesting "60 Minutes" segment.
  13. Writer-director Steers has chosen to overload "Igby" with phony archness and forced black humor, making it not the place to look for satisfying acting.
  14. Whatever his intentions, Clark, in his third outing as a director, has come up with a film that is seriously flawed.
  15. Gone is also your hard-earned money if you buy a ticket to this slack piece of work, a movie that makes "Murder on the Orient Express" feel like "The Silence of the Lambs" by comparison.
    • 34 Metascore
    • 30 Critic Score
    Isn't for teens, it's for the kids who aspire to be teens.
  16. It has a tendency to run ragged and spends an unhealthy amount of time idling pointlessly at intersections.
    • 46 Metascore
    • 30 Critic Score
    All the sound and fury in the world can't disguise the fact that yowling music, typing montages and computer animation do not a gripping finale make. This movie megabytes.
  17. An undercooked, "Glee"-like hybrid of grating indie pop songs and forest slasher flick.
  18. The emotional aspects of the story are treated with such a heavy hand, the supernatural aspects are so vague and uninvolving, and the group dynamic is so unconvincing that one can't quite imagine why anybody bothered.
  19. Plodding, predictable, amateurishly staged and with wild swings in acting quality - sometimes within the same person (Roberts) - this is the kind of well-meaning, homemade concoction hopelessly enamored of the kind of clichéd potboilers that don't get made anymore. And with good reason.
  20. Moms' Night Out is a hectic mess that does just the opposite of what it clearly set out to do: It makes motherhood seem like one of the most ill-conceived ideas since New Coke.
  21. A treadmill sex comedy, huffing and puffing in place until its time is up.
  22. Lawrence's natural, disarming screen presence is ill-suited to something as mannered and labored as House at the End of the Street, and at moments it's as if she freezes up, unable to simply throw on a scared-face for no good reason.
  23. This first feature is populated by blandly underdeveloped main characters who tend to recite their lines rather than inhabit them.
  24. With its stock characters and low-expectation high jinks, the German import What a Man could have been fabricated on the Hollywood rom-com assembly line.
  25. Winds up an oddly depressing, lost, little movie that eventually caves in on itself.
  26. The only payoff to Lloyd's structure is that the young actress Condola Rashad, a recent Tony nominee, is allowed to appear in both the film's first scene and its final segment to bring the story full-circle, though her enigmatic, beguiling presence underlines just the sort of energy missing from the rest of the film.
  27. A routine home invasion movie more interested in B-horror tropes and bloodletting than a thought-provoking look at "Hunger Games"-ish class warfare.

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