Los Angeles Times' Scores

For 7,892 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: 61
Highest review score: 100 Boy Meets Girl
Lowest review score: 0 Chaos
Score distribution:
7,892 movie reviews
  1. A not very good romantic comedy made somewhat bearable by Faris.
  2. Barker just hammers home the human-interest angle with a stirring score that serves to instruct the appropriate emotional response to each scene. The tacked-on uplift in the end is beyond comprehension, given that some of its subjects remain in peril.
  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. 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.
  5. 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.
  6. In some ways, The Man plays like a sequel to some terrible movie that was mercifully destroyed before it was ever released.
  7. One Night at McCool's is one night too much.
    • 31 Metascore
    • 30 Critic Score
    Too often is as garbled as Pootie's own jargon.
  8. With so little trust and even less dialogue to back him up, it's no wonder Li rarely takes his left hand out of his pants pocket. His fists aren't furious; they're on strike.
  9. There may once have been a real movie rattling inside the empty studio package known as The Big Bounce, but no longer.
  10. The movie is flatly acted and extremely ill-paced, lacking any sense of urgency, momentum or fun. "Romancing the Stone" it is not.
  11. So mild, so benign, its humiliation-to-vindication are so predictable and its old-folks jokes so feeble.
  12. The direction by Gil Cates Jr. is inept at best, and the script by Cates and Marc Weinstock seems to operate under the assumption that trafficking in flabby clichés -- the kindly call girl, the scrappy youngster, the angry dad -- will somehow smooth over the underdeveloped characters.
  13. Rinsch, making his feature debut, shows the shortcoming of someone coming from the image-based world of commercials and advertising. There are moments of genuine beauty and a few terrifically eye-popping effects, but no feel yet for storytelling.
  14. GhettoPhysics undercuts its approach with too much cant, too much rambling and too much that is self-evident.
  15. The idea of a revenge comedy isn't necessarily a bad one, Bride Wars simply fails at it despite having the formidable duo of Kate Hudson and Anne Hathaway, who in their own distinctive ways usually command the screen.
  16. At the end, all is horrifically explained, the body count inflates, yet hardly anything makes sense. In Papa Lynch's films, little is explained, yet because he's so gifted at mining our deepest fears and scariest desires, logic is excused.
  17. Wilson's amiable vocal work keeps the predictability from becoming too grating.
  18. Comes off as formless and inane.
  19. Given the polyglot nature of the cast, with actors from at least five countries taking their best shots at the English language, it's unclear why Cage felt he needed an accent or, stranger still, why it took him a reported seven months to come up with this one.
  20. 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."
  21. George Clooney's first effort behind the camera was doubtless more stimulating to direct than it will be for audiences to watch.
  22. This hollow downer about deep wells of male anger, wallowing regret and mental disintegration is ultimately a thematic cop-out.
  23. It's hard to believe that the group who came up with the hard, clean edges of "Top Gun," sleek and unfeeling though it may have been, could make a picture as crude, as muddled, as destructo-Derbyish as this one. If Beverly Hills Cop II is its opening salvo, this is going to be a long, smoggy summer. [20 May 1987]
    • Los Angeles Times
  24. The lack of suspense and surprise in this dispiritingly rote film becomes its own form of contamination.
  25. The Danish filmmaker's latest theater of the macabre is brutal, bloody, saturated with revenge, sex and death, yet stunningly devoid of meaning, purpose, emotion or decent lighting. Seriously. Artful shadows can certainly set a mood; too many and it merely looks like someone is trying too hard.
  26. Pedestrian and awkward, this film is a disappointment not only in comparison with Lee's earlier epic, the underrated " Malcolm X," but also in comparison with another film with similar aims, Rachid Bouchareb's "Days of Glory."
  27. Only during the movie's sweet epilogue do we get a sense of what Friended could have been had the filmmakers taken a smarter, gentler, more human approach.
  28. Not clever or polished enough to be successful as farce, unwilling to supply any reason to care about any of its characters, unable to make the points about the role of fashion in society it thinks it is, "Ready to Wear" is madness without the usual Altman method.
  29. A true tale of high school football achievement becomes a strained, by-the-numbers grab bag of uplift in the Christian sports drama When the Game Stands Tall.

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