Los Angeles Times' Scores

For 7,705 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: 62
Highest review score: 100 The Inheritance
Lowest review score: 0 Miss March
Score distribution:
7,705 movie reviews
  1. A dismally formulaic hodgepodge of crude humor and wan attempts to tug at the heart.
  2. The less-than-persuasive result is like mediocre leftover psychedelic '60s underground cinema.
  3. A bust. As murky as its release print, it is a stale, incoherent spy caper.
  4. The real problem with "Phantom" is the problem with Andrew Lloyd Webber musicals in general. It's a slow-moving orgy of lowbrow grandiosity that's as tedious as it is overblown and pretentious.
  5. By the time Duets faces the music, hardly anyone is going to care.
    • Los Angeles Times
  6. 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.
    • 46 Metascore
    • 30 Critic Score
    Peel away the layers of contrivances, however, and the leftover plot barely fills a doggy bag.
    • 33 Metascore
    • 30 Critic Score
    If you think that Martin Lawrence dressed up as a hefty grandmother is funny, be gone with you .For the rest of you, you'd be better off just taking a ride on the bus. The script.. .is off and stumbling over unfunny one-liners.
    • Los Angeles Times
  7. The movie straitjackets Keaton into a humorless, table-pounding role.
  8. Gets nowhere. Its star Ice Cube remains characteristically amiable, but this thuddingly miscalculated comedy is way beneath him.
  9. Unless you're a connoisseur of movies that are so bad they're good, Hide and Seek is one game you're not going to want to play.
  10. The odd truth is that the film's novice star is better than the material.
  11. The laugh lines are mostly crude and the prevalent slapstick is weak and uneventful.
  12. Winds up an oddly depressing, lost, little movie that eventually caves in on itself.
  13. The film's tone works overtime at mythologizing tawdry incidents into some ultimate epic about the lost innocence of youth. Gilded trash is more like it.
  14. This heartfelt valentine to the stage leaves no cliché unturned. If it has anything to recommend, it is the loving portrayal of the camaraderie of those who participate in art for art's sake who, to quote Cyrano, "work without one thought of gain or fame."
  15. An unsuccessful concoction of sincerity, camp and crassness that is more interested in its parade of D-level celebrities than developing its characters.
  16. Too sophomoric to be believed.
  17. Although Travolta is as smooth as ever, the picture is a bust, a grimly unfunny comedy with no connection to reality, and worst of all, running on and on for two dismal hours.
  18. Sporadically effective, it appears not to have particularly excited the people who made it, and that lackadaisical quality is a drawback.
  19. The bleak absurdity of its predicaments cries out for a tone of pitch-dark comedy to stave off the unintended laughter that it is virtually certain to elicit.
  20. As awful as the original was inspired.
  21. Eating Out might just make it as an amusing trifle, but on the big screen it's merely tedious and silly.
  22. Moving from tragedy to tragedy, the film teeters along unsteadily, showing events we've seen countless times before and then imploding under the weight of its ridiculous ending.
  23. Related to the 1953 Vincent Price film in name, embalming technique and Warner Bros. pedigree only, the new House of Wax is a dreary, predictable tale.
  24. The anesthetized, deadpan performances -- except for Meat Loaf as Anna's gangster boyfriend, who's so over-the-top it appears he stumbled in from another movie -- and dull storytelling result in an unsuccessful mix of screwball comedy, melodrama and noir.
  25. 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.
  26. The movie is a tortured marshmallow.
  27. However visually striking, this Australian film is ultimately as tedious as it is derivative.
  28. Yet for all its ballyhooed candor about sexual matters, it's a surprisingly baffling and opaque film, too artistic to be standard pornography and too zealously focused on being graphic to the exclusion of all else to succeed as drama.

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