Los Angeles Times' Scores

For 8,236 reviews, this publication has graded:
  • 58% higher than the average critic
  • 4% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Poetry
Lowest review score: 0 Showgirls
Score distribution:
8,236 movie reviews
  1. So uninvolving it scarcely matters what it looks like.
  2. The film and its makers simply try too hard. Director and co-writer Judy Hecht Dumontet can't stop "helping" with overactive editing and scoring, such as tinkling bells every time the sacred tortilla is shown early on.
  3. 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.
  4. Jack is more depressing than the weight of its demerits because of the quality of the work both these men have done before.
  5. This noisy retread, a secondhand facsimile of a movie, is, except for the headache its boisterous sound level leaves you with, as forgettable as a bad day in the Disneyland parking lot.
    • 27 Metascore
    • 30 Critic Score
    By the time it sputters across the finish line, Wild Hogs feels as if it's gone on forever -- like a trip in a hot car with the windows rolled up. The air is stale and hard to breathe, and it sure feels good when it's over.
  6. A plodding comic caper that fails to deliver.
  7. The uninvitingly titled Chlorine is a flat, undercooked suburban comedy. Or is it a drama? Or maybe a kind of satire? Regardless, it's short on style, substance or any clear raison d'être.
  8. The look of the film is great, the soundtrack glorious, but more often than not the dialogue is atrocious, featuring a lot of long-winded gobbledygook.
  9. Where the first "Jeepers Creepers" came across like a dark, wacky dream, the inevitable Jeepers Creepers 2 seems more like a franchise under construction.
  10. Perry can now knock these films out in his sleep, and with “Madea Christmas” he certainly seems to be dozing at the wheel.
  11. Unfunny rather than outrageous as intended.
  12. Severely marred by a plot device so ludicrous it turns a serious drama into something silly.
  13. Apart from Farmer's effectively stricken portrayal of a singularly conflicted man, The Falls: Testament of Love is too earnest a slog to have any impact.
  14. At once corny and precious, its humor seems too heavily ethnic to travel well.
  15. A dismally formulaic hodgepodge of crude humor and wan attempts to tug at the heart.
  16. By the time the heavy-handed Solomon & Gaenor is over, it has become such a punishing exercise in the self-evident that one is left numb and eager for escape.
  17. Not to be glib, but sitting through the art-centric chamber piece The Time Being is truly like watching paint dry.
  18. Beware any movie that talks about what it is before being what it is.
  19. However visually striking, this Australian film is ultimately as tedious as it is derivative.
  20. Madonna may be better in this film than she's been in some of her recent endeavors, especially when she stops screeching her lines, but she's done herself no favors with her choice of material.
  21. Brings vampires, werewolves, zombies, detective noir and spoofy comedy together for a murky genre gumbo with barely any flavor.
  22. Though the title hints at a tale of infatuation, Levy sheds little light on interpersonal conflict or why we're such an addictively self-documenting modern society.
  23. 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.
  24. Is it good? No. Is it fun? A little. Is there a makeover montage? Of course.
  25. Maybe it's the sight of Leguizamo running around dressed only in boots and a well-placed sock that does her in, or maybe it's just that she's seen this movie too many times before. She isn't the only one.
  26. The fatal flaw of "John Doe" is its focus on ideas, rather than people.
  27. A pair of detectives lingering on the periphery of the story help provide a twist at the end that is well-handled and carries an unexpected irony, but it is really too, too little coming far, far too late.
    • 22 Metascore
    • 30 Critic Score
    Like an ugly tie or a pair of slipper socks, Black Christmas is destined to be forgotten the instant it's unwrapped, gathering dust until the season rolls around again.
  28. In the end, Take is too enamored of its time-shifting gimmick and cheap suspense to ultimately have much impact.

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