Los Angeles Times' Scores

For 7,617 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 0.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Private Fears in Public Places
Lowest review score: 0 Jewtopia
Score distribution:
7,617 movie reviews
  1. 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
  2. Beach's storytelling tactics, much like the film as a whole, would simply be annoying if they weren't also borderline insulting.
  3. Jack is more depressing than the weight of its demerits because of the quality of the work both these men have done before.
  4. Condemned is, if nothing else, an object lesson in how to punish women for fun and profit. But it's all for a point, the filmmakers would have us believe. One suspects that's a point of sale.
  5. Loaded as it is with undeveloped notions about feminism and individuality, nothing about it is really memorable except the appealing musicality of the fine k.d. lang/Ben Mink score, which deserves better. [20 May 1994]
    • Los Angeles Times
  6. Little more than an extended excuse for a soundtrack.
    • 25 Metascore
    • 30 Critic Score
    Georgia Rule oscillates clumsily from shock to slapstick to schmaltz. The result of these big tonal swings is a cinematic strikeout.
  7. Chopped into episodes headed by typewritten dates, Provoked turns the case of a lifetime into something straight out of Lifetime.
  8. 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.
  9. Falling Down encourages a gloating sense that we the long-suffering victims are finally getting our splendid revenge. The ultimate hollowness of that kind of triumph reflects the shallowness of a film all too eager to serve it up. [26 Feb 1993, p.1]
    • Los Angeles Times
  10. The latest, and, one fears, not the last episode in the kiss-kiss-bang-bang saga of L.A. police Detectives Roger Murtaugh (Danny Glover) and Martin Riggs (Mel Gibson) is even more of a comic strip than its immediate predecessor. [15 May 1992]
    • Los Angeles Times
  11. It would be lying not to say that some of the moviemakers here aren't working at the top of their craft, or that the movie won't reach audiences. On its own terms, Kindergarten Cop is nearly fool-proof: the last word in glib, shallow, soulless, spuriously warm-hearted commercialism. [21 Dec 1990, p.1]
    • Los Angeles Times
  12. Except for that music and a bit of the acting, Swing Kids is unsatisfactory from just about every point of view. [05 Mar 1993]
    • Los Angeles Times
  13. With its stylized story-line and almost styleless direction, it sometimes resembles a juggling act with sledgehammers. [13 Jul 1988, p.1]
    • Los Angeles Times
  14. Admirers of Rambo III will probably point out that it moves fast. But then, so does a gazelle-and a gazelle has better dialogue and more personality. [25 May 1988, p.1]
    • Los Angeles Times
  15. Nightwatch is a seriously overcast B-movie with rote performances from everyone but Brolin, who gives James an edge of danger that says that if he isn't a killer, he will be.
  16. Not only are none of these characters particularly fun to be with, but the inevitable violence that enters their lives is strong and unpleasant. [03 Sep 1993]
    • Los Angeles Times
  17. It's camp noir, but the director, Renny Harlin, doesn't allow the jokes, feeble as they are, to take hold. He slam-bangs the action as if he was prepping "Die Hard 2," so that even Clay's self-infatuated strut and bleary leer don't have time to register. The film is pointlessly souped up. [11 Jul 1990, p.1]
    • Los Angeles Times
  18. The movie is a pastiche of tortured slapstick, groan-inducing dialogue and a lethal dose of treacle, apparently awaiting one of Williams' trademark sprees of riffing and vamping to save the day. That moment never comes, however.
  19. It's a movie on the wrong side side of the so-bad-it's-good line.
    • 37 Metascore
    • 30 Critic Score
    Director Frederik Du Chau's big-screen Underdog has all of the cartoons' crudeness and none of their charm. It's the celluloid equivalent of sugar cereal: cheap, empty and headache-inducing.
  20. Depending on your revenge story preferences, the brutally pretentious Descent is either a payback flick with an agonizingly formless middle, or a soul-darkening head trip bracketed by a crude vengeance tale. Mostly, though, it's indie provocation trapped between shock and blah.
  21. The film is strictly straight-to-video action movie stuff, albeit with dialogue in iambic pentameter.
    • 36 Metascore
    • 30 Critic Score
    War
    War ties itself in knots trying to bring something new to a stale formula. It's never painful to watch, but that's only because it provokes no feeling at all.
  22. Fluent in the laughable dialogue of a million bad fantasy flicks:
  23. Martian Child would like to be "About a Boy (Who Thinks He's a Martian)", but, disappointingly, it doesn't even come close.
  24. The result is a film that's main crime is inducing stupefying boredom with little payoff in the end.
  25. You could go see P.S. I Love You, or you could hit yourself on the head with a meat mallet -- it depends on the amount of time and money you want to devote to what amounts to roughly the same experience.
    • 15 Metascore
    • 30 Critic Score
    Its convictionless competence is merely dull, denying the pleasures of an outright howler without providing much else.
  26. A stew of cheap irony, ponderous but meaningless allegory, violence and pretension, the movie is all borrowed style and calculated pandering. It does, however, get more ludicrous by the minute. So in that sense, it's good for an occasional laugh.

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