Los Angeles Times' Scores

For 7,763 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 Melancholia
Lowest review score: 0 Chaos
Score distribution:
7,763 movie reviews
  1. Good-natured and exuberantly politically - socially is more like it - incorrect, but it is woefully under-inspired and amateurish.
  2. An unconscionably dreary and amateurish-looking thing, and the rote plot and annoyingly predictable script -- a compendium of bird puns, mostly -- don't work nearly hard enough to make up for the hammy awfulness of the images.
  3. Laurence Fishburne is one actor who has charisma to burn, but even his incendiary performance can't ignite Hoodlum, a would-be gangster epic that generates less heat than a nickel cigar. [27Aug1997 Pg 8]
    • Los Angeles Times
  4. Mad City is an example of how enervated polemical filmmaking can become when its plot loses contact with plausibility.
  5. In some ways, The Man plays like a sequel to some terrible movie that was mercifully destroyed before it was ever released.
  6. In the parlance of "The Player," Katrina Holden Bronson's Daltry Calhoun would be pitched as "Because of Winn-Dixie" meets "Napoleon Dynamite," and that is definitely not a good thing.
  7. Though it displays enough perils to put a dent in future cruise ship sales, the film has a makeshift, slapdash quality that is the opposite of its predecessor.
  8. Something bad happened on the way from the book to the movie. [15Dec1995 Pg. F.01]
    • Los Angeles Times
  9. Shows less human dimension than the new Wallace and Gromit movie.
  10. A comedy so inane and tedious that it buries its premise and its various worthy points under too many arch and improbable shenanigans and endless dialogue, much of it seriously under-inspired.
  11. A paint-by-numbers version of an artist's life, Basquiat is amusing for all the wrong reasons, especially at those horrible moments when you realize you're supposed to be taking it seriously.
  12. A jumble of genres including mob melodrama, bodyguard romance and interracial love story, none of which is handled in a remotely satisfying manner by director Ron Underwood. The film's tone shifts with all the grace of a car with a balky transmission.
  13. Rent is commodified faux bohemia on a platter, eliciting the same kind of numbing soul-sadness as children's beauty pageants, tiny dogs in expensive boots, Mahatma Gandhi in Apple ads.
  14. A trying experience. As we watch Rochester fall apart in spectacular fashion, it's clear that a major lure for the venturesome Depp was the chance to play a grotesque, to become a pestilent physical wreck with an artificial silver nose. There's more in that role for the actor, however, than there is for us.
  15. A big fast bust.
  16. The movie suffers from a malady common to tiny indies of the let's-put-on-a-show variety -- it strains for irrepressibly nutty, but lands squarely in annoying.
  17. Redford's Gage is so busy being exquisitely sensitive and polite he neglects to project any energy, and without it the crucial morning-after part of the movie gradually collapses under the weight of its own self-importance. [07 Apr 1993 Pg. F1]
    • Los Angeles Times
  18. Droopy remake.
  19. The performances by all three children are scarily convincing. Still, it's a taxing bit of exploitation, which, although you're glad to know it's a work of fiction, doesn't exactly make a case for itself as art.
  20. Director Mikael Hafström's dramatic sense is so pedestrian and snail's-pace obvious -- since this 2003 feature, he's made the leap to Hollywood with the plodding thriller "Derailed" -- one starts biding time for the inevitable retributive smackdown that will save our hero from the gantlet of draggy high-mindedness about counteracting fascism with stony resolve.
  21. Though the Strick-Robinson script is solid from line to line, the film's plot is finally too implausible for anyone to rescue.
  22. Unfortunately, the film lacks the suspense and drama to carry the psychological burden placed on it by its makers. Plot strands are dropped like so much lint, and it ends so abruptly that you wonder whether the filmmakers ran out of money, ideas or both.
  23. A campy, hopelessly amateurish vanity production.
  24. You have to be a bit of an arrested adolescent to think "Larry" is funny.
  25. 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.
    • 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.
  26. Isn't it amazing to see just how low some people will stoop if you pay them enough?
  27. A tedious experience.
  28. Schifrin wisely holds off showing the monster -- because once the creature is revealed, the already shaky film takes a turn for the worse. The costume for the monster looks like a cross between a drugstore Halloween mask and leftover molds from the horror chestnut "Leprechaun."
  29. The movie is flatly acted and extremely ill-paced, lacking any sense of urgency, momentum or fun. "Romancing the Stone" it is not.

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