Los Angeles Times' Scores

For 7,559 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 A Woman in Berlin
Lowest review score: 0 Being Human
Score distribution:
7,559 movie reviews
  1. It's a big, cheesy, familiar bore. With its garland of set pieces featuring Matthew McConaughey in mortal danger strung together by beach-groovy musical hooks, Fool's Gold feels at times like a third-rate Bond movie set to a Jimmy Buffett album.
  2. Bubbly to the point of indigestion and mechanical about ticking off the romantic trajectory.
  3. This is as listless, mindless and utterly useless a piece of corporate brain-clog as one is likely to come across for quite some time.
  4. Director H.S. Miller thinks he's made something broodingly visionary when you're more likely to be aesthetically shaken up by one of Mad magazine's Fold-Ins.
    • 36 Metascore
    • 30 Critic Score
    If you swiped the most insipid dialogue of the teenage-angst movies of John Hughes and Kevin Smith and Amy Heckerling, you would still have a script -- and a movie -- far superior to the newest of the genre, Remember the Daze.
  5. As a work of nonfiction filmmaking it is a sham and as agitprop it is too flimsy to strike any serious blows.
  6. 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 clich├ęs -- the kindly call girl, the scrappy youngster, the angry dad -- will somehow smooth over the underdeveloped characters.
  7. Deception would be laughably bad if it weren't so rotely inert.
  8. XXY
    The genitally ambiguous as well as transsexuals and gay people deserve more than XXY's good intentions.
  9. The fakeness of it all overwhelms, dampening any real excitement. It's hard to care about characters so stiff and one-dimensional they out-cartoon the cartoon originals, and it's hard to watch them bop around like avatars in a flat, airless, digital world.
  10. Even at its stride, "The X-Files" was a load of malarkey. But it was thoughtful malarkey and compulsively watchable. One could say the same about the first two-thirds of The X-Files: I Want to Believe before it spins out of control and into a delirious plane of awfulness.
  11. Where "Superbad" found something raucously winning in hanging with adolescence's loser elite, Harold is a disingenuous, one-note underdog portrait.
  12. In the end, Take is too enamored of its time-shifting gimmick and cheap suspense to ultimately have much impact.
  13. With so many pointless detours ripping you away, the film feels as lamely digressive as the proverbial one-track guy whose head won't stop turning as each new temptation walks by.
  14. The film gets the scummy patina right, all phony-Leone dusty trails, but while everybody on screen looks to be enjoying themselves, it is no fun to watch.
  15. Though he claims to be a seeker, someone who "has to find out" why believers believe, Maher sets out not after answers but cheap laughs that preach, so to speak, to the converted.
  16. 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."
  17. One of those fever-pitched computer-generated whizbangs in which every character spits out lines like a caffeinated Catskills comic.
  18. Ultimately, its most unforgivable sin is that it's simply not funny.
  19. Not even a brief appearance by Quentin Tarantino and a ton of references to other movies enlivens the proceedings much.
  20. If the makers were hoping they'd chronicled a metaphor for life's struggle, they probably weren't counting on the struggle being monotony.
  21. Despite its superficial lip-service to self-actualization/realization, there has to be more to life than what Beverly Hills Chihuahua is putting out there, which is fit for neither man nor beast.
  22. What was presumably intended to play like a fable plays, instead, like an overly long car commercial crossed with a scare-mongering public service announcement.
  23. A movie where the only conception of life seems to come from other movies makes for no kind of movie at all.
  24. The biggest mystery, perhaps, is why accomplished actors such as Molina and Hope Davis agreed to be in this.
  25. 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.
  26. Mostly, though, the movie is something of a snooze, a gabby PG-13 horror flick whose most shocking image might be the bored look on Gary Oldman's face as he goes through the motions of playing the rabbi in charge of dispatching the film's damnable demon to somewhere over hell's rainbow.
  27. Without dwelling on the limited abilities of novice British filmmakers Tom and Charles Guard (a.k.a. the Guard Brothers) -- who seem to have divvied up duties here by having one sibling focus exclusively on close-up shots of doorknobs and the other oversee everything else -- the movie's fatal flaw is the undeveloped relationship between the two sisters.
  28. The new comedy is flat, the romance is listless, the pacing is sluggish, and the fish-out-of-water flops -- flip-flop, flip-flop, I can hear it still.
  29. All Echelon can offer is some wobbly action and views of Red Square.

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