Los Angeles Times' Scores

For 9,682 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 The Invisible Woman
Lowest review score: 0 Natural Born Pranksters
Score distribution:
9682 movie reviews
    • 32 Metascore
    • 30 Critic Score
    That's not to say there aren't funny moments here. There are. Two, maybe three of them. But unless you're a hearty 14-year-old -- who of course is not supposed to be seeing this R-rated movie -- it's hardly worth fishing them out of the potty humor and repulsive sex talk.
  1. Flashily shot and cut like a long-form music video, the film is merely an empty vessel for a Guy Ritchie-esque stylistic exercise.
  2. While the narrative spins in place, Kyle Killen's script throws out one uninspired gambit after another to extend the film to feature length, eventually climaxing with dual endings, both contrived.
  3. A famously crackpot conspiracy theory, psychedelic humor and arty ultraviolence make for dreary bedfellows in the scattershot British comedy Moonwalkers.
  4. South Korean filmmaker Sngmoo Lee's debut feature is less a genre-spanning romp than a tiresome lab experiment in computer-generated tropes and green-screen oppressiveness.
  5. With all the finesse of a bullhorn that sprays noise and blood, All Cheerleaders Die shows just how difficult it is to pump life into the shopworn teen horror-comedy genre.
  6. As a work of nonfiction filmmaking it is a sham and as agitprop it is too flimsy to strike any serious blows.
  7. Suffers from the tired POV gimmickry, the weak characterizations, the numbing sameness of stuck-in-the-woods-with-dolts narratives.
  8. The Moment is a psychological thriller more muddled than the mind and the maze it is caught up in.
  9. Beyond the Reach is a grueling, unsatisfying thriller that fails the logic test in spectacular ways.
  10. Scott's energy helps keep the movie going during its sluggish moments and animates its few bright spots, including a pleasurably dumb showdown on the dance floor of a gay bar.
  11. Any one-man crusade is likely to fail, but a rom-com character's war against sincerity is doomed from the start.
  12. As a misfit-centric slap at religious conformity, the story's premise couldn't be more primed for trenchant social comedy, but screenwriter Knight and director Eyad Zahra opt for maintaining a thin veneer of tiresome obnoxiousness over exploring the contours of an emotionally complicated subculture.
  13. Under Mikael Håfström's visually clunky, rhythmless direction, it's a snooze of epic sameness: choppy action scenes, a blankly stern Cusack, and too many allegiance shifts to count or care for.
  14. Those 24-and-unders who are looking for their own "Caddyshack" to adopt as a generational signpost may have to keep looking.
  15. Writer-director Diane Bell suggests that these women are so steeped in low self-esteem and codependency that they would not be able to leave their men if they didn't have each other.
  16. Crewson is a game, experienced actress but hasn't sufficient star charisma to lift Suddenly Naked out of the doldrums.
  17. By turns flat and strained, Peep World is a collection of personality disorders in search of a story.
  18. [An] amateurish, terribly acted piffle, which devolves from dull conversations behind store counters into witless farce on a movie set.
  19. This is the same infinitely repeated plot of "Halloweens" 1, 2 and 4 (3 took a slightly deviant turn), with the same unkillable bogyman Michael Myers, wreaking the same programmed havoc, and Donald Pleasence as the same distraught psychiatrist, repeating the same dire warnings to no avail.
  20. As vapidly generic as its title, British director Scott Mann's Heist is a by-the-numbers crime thriller that squanders a decent cast, including Robert De Niro, Jeffrey Dean Morgan and Dave Bautista.
  21. What audiences end up with word-wise is a hackneyed, completely derivative copy of old Hollywood romances, a movie that reeks of phoniness and lacks even minimal originality.
  22. Whereas the original "Monsters" was a road movie about an odd couple fleeing an alien-infested zone, "Dark Continent" cribs from contemporary war movies like "The Hurt Locker" and "American Sniper," then tosses in extraterrestrials as an afterthought.
  23. Can never rise above the melodrama of a past era, despite a splendid, impassioned portrayal by Willem Dafoe and an affecting one by Luo Yan.
  24. This tonal mishmash is a misfire of literally gross proportions.
  25. Aggressively ugly and gross, the movie boasts a certain low-rent authenticity, but the auteur never figures out how to fill his grubby little rooms.
  26. The film hardly scratches Abu Ghraib's surface.
  27. Unformed protagonists don't come more wallowingly irritating and contradictory than George.
  28. Despite the occasional topical reference to President Bush and Sen. Clinton, this movie is, like, so eight years ago, it isn't funny.
  29. Carmine Gaeta and Luke Davies' screenplay is constructed from plot mechanics, and the emotional stakes grow less convincing with every twist of the screw.

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