Los Angeles Times' Scores

For 11,549 reviews, this publication has graded:
  • 57% higher than the average critic
  • 6% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Eyes Without a Face [re-release]
Lowest review score: 0 Formula 51
Score distribution:
11549 movie reviews
  1. The problem is that although the characters in Mistress America deliver witty, fast-paced dialogue, they rarely actually seem to be talking to each other, instead facing the audience.
  2. Writer-director Paul Leyden does a decent job holding our interest as well as providing a few intriguing twists and reveals. But make no mistake, this is exceedingly far-fetched stuff.
  3. Though it's handled with little subtlety, the way the atmosphere of suspicion in Vichy France filters down to the kids is a smart slant on the material.
  4. Morelli uses plentiful flashbacks drawn from the earlier movie and television series that are at times intrusive to the narrative but eventually serve to deepen the relationship of Ace and Laranjinha.
  5. It has ideas as well as jolts, themes as well as special effects, characters as well as gore. But, as adapted by writer W. D. Richter and director Fraser Heston, these Things seem disappointingly diminished, squeezed and stuffed into a box too small.
  6. It's an interesting take, and it always holds our interest, but it's finally too ham-fisted to be a completely winning one.
  7. As far as documentaries go, the film is exhaustively researched, interviewed and documented.
  8. What helps offset the predictable in this very predictable movie is a series of show-stopping numbers, so props to the folks who oversaw music and choreography. But the true saving grace is a few of the central players.
  9. The film's tone is on the sitcom side, but its likable cast and zany subplots make it palatable.
  10. Not as inspired or amusing as it might be, leans heavily on the considerable charm of its three young and attractive principals. Their charisma and the film's larky spirit, English locales and elaborate cons might be just enough to divert easily satisfied date-night audiences.
  11. Though Debs is a legendary and influential character, the style of "American Socialist" fails to come to life.
  12. The relationship between Gilbert and Arnie has "Of Mice and Men" vibes, but it strikes a responsive chord in a way that the rest of the film doesn't. Most of the credit for that goes to DiCaprio's performance.
  13. If the scenario is unconvincing, debuting writer-director Max Winkler has a feel for the dynamics of this kind of ritualized yet informal social gathering, and his affection for his characters is clear.
  14. The Island runs hot and cold, with clunky comic set-pieces alternating with moments of genuine wonder and surprise. But even at its most misbegotten, the movie’s always thoughtful, examining what we value — and why.
  15. There’s much to admire about this alternately tough and tender film, including a fine turn by Caton, some striking outback scenery, and many resonant thoughts about living — and dying.
    • 51 Metascore
    • 60 Critic Score
    Gives new meaning to the phrase rat race. [15 Aug 2003, p.22]
    • Los Angeles Times
  16. Everything about the movie is overscaled, overbrutal, overbroad, full of holes. Yet there's something cheerful and wacky about it; it's a light-hearted blood bath.
  17. Dumont's imagination is fertile, but not exactly full when it runs close to two hours. What's always evident, however, is a punk-rock respect for Joan as a symbol of exuberant outrageousness.
  18. To fully appreciate the extreme lowness of Your Highness, it's best to accept that this sometimes witless and sometimes winning comedy has absolutely no socially redeeming value.
  19. Grounded by a gutsy, over-the-edge-and-back performance by Paul Kaye as Frankie, It's All Gone Pete Tong takes the long way around before finally redeeming itself.
  20. As a director, Moore is like an energetic puppy who's all over you all at once. You admire his energy, and it's awfully hard to get angry at such high spirits, but you can't help but wish he'd calm down just a bit.
  21. Ripped directly from Disney's playbook of inspirational sports movies, it's devoid of any original elements that might deter it from that successful formula, hewing closer to the sentimental cliches of "Remember the Titans" than the much better "Miracle" or "The Rookie."
  22. Occasionally, when you Death Wish upon a star and that star is Banderas, you get a serviceable time-waster like Acts of Vengeance.
  23. No matter how seriously everyone works to make the CIA impossibly sexy, the illusion that these pencil pushers are incarnations of Bond, James Bond, is difficult to sustain.
  24. The mix of callous humor and romantic doom doesn't always hold up, but in its best moments, The Wannabe finds real spikiness in the pitfalls of anti-hero worship.
  25. The French are very good at taking sit-commy setups and cloaking the machinery with charming and surprisingly resonant comic nuance.
  26. While the story plays better on the page than the screen and some of the film's elements work better than others, a proficient Ron Howard version of things is certainly competent if only occasionally thrilling.
  27. While the film glistens a bit now and again, a closer look reveals you've been diverted not by a diamond but by a genuine synthetic zircon.
    • 70 Metascore
    • 60 Critic Score
    King Corn is entertaining enough, but it's also a moral, crucially skeptical road trip down the food chain.
  28. A film truly geared to the 6-year-old level. If not younger.

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