Los Angeles Times' Scores

For 8,560 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 0.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Burma VJ: Reporter i et lukket land
Lowest review score: 0 Don Peyote
Score distribution:
8,560 movie reviews
  1. All Echelon can offer is some wobbly action and views of Red Square.
  2. Ghoul can't decide whether it should be about cannibals, serial killers, ghosts or demons.
  3. Insights are few in this fan letter of a documentary.
  4. The movie's grandiose emotional quotient never feels any more real than its ham-fisted dialogue, dubious accents, strained "Kumbaya" moments or eclectic hairdos.
  5. Doesn't have the courage of its conceit, only an abundance of bad ideas and worse taste.
  6. That Les isn't one of LaBute's garden variety sadists is the best thing you can say about Dirty Weekend.
  7. The film never gives a real sense of the daily travails associated with traumatic brain injury.
  8. 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.
  9. Beyond this general outline, plot and character development are afterthoughts, or maybe never-thoughts.
  10. Twisted is rubbish, but it looks good enough, moves fast enough and does improve as it progresses, principally because its plot disintegrtes to the point of outright comedy.
  11. Although the performances, including that of Rebecca Romijn channeling Cybill Shepherd as a femme fatale type, are sturdy, their characters have been given absolutely nowhere interesting to go.
  12. Although writer-director Scott Walker seems committed to not overly exploiting his lurid subject matter, the movie is just too dreary, disjointed and generically creepy to be persuasive.
  13. Budgetary constraints aside, director John Putch struggles to find balance or generate a single spark from the clunky mix of romance, political diatribe and thriller.
  14. Suffers from the same ills as too many movies that preach to the choir: a laborious length, formulaic plot and dialogue and, disappointing for a film that stars a rapper, a stock score. Content aside, Molina's testimony isn't good cinema either.
  15. A lame, tedious comedy.
  16. The film might have gained some heft had director Ruby Yang let the transformations unfold before our eyes instead of force-feeding us testimonials.
  17. The bloodletting is blandly demure and the identity of the malefactor telegraphed too early.
  18. Novice screenwriter Craig Walendziak has followed England's template, charting the daily worsening of the symptoms. But he doesn't get that the 2013 "Contracted" was special because it was much more than a zombie flick.
  19. The underwhelming, would-be political satire Knife Fight plays more like a failed network TV pilot than the savvy feature it clearly set out to be. Think: Aaron Sorkin-lite, uh, really, really lite.
  20. 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.
  21. Burying the Ex is a genre-mashing low for Dante.
  22. The Lone Ranger exists without a convincing sense of jeopardy or, more critically, any place for audiences to emotionally connect.
  23. Get Hard... is certainly a better name than, say, Laugh Hard, which you won't do nearly enough.
  24. Good-natured and exuberantly politically - socially is more like it - incorrect, but it is woefully under-inspired and amateurish.
  25. It never quite settles on whether it's a "Mean Girls" burlesque of teen life, an "American Beauty"-style bad-things-in-the-suburbs drama, or a wayward horror film. And it certainly never reconciles itself to successfully pulling off a hybrid of the three.
  26. A not very good romantic comedy made somewhat bearable by Faris.
  27. Instead of taking the audience in unfamiliar directions, filmmaker Mora Stephens (who wrote the script with Joel Viertel) is in such a heated rush to get to all the salacious bits, the story doesn't build crucial dramatic tension.
  28. 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.
  29. 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
  30. 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.

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