Los Angeles Times' Scores

For 8,325 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 0.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Inherent Vice
Lowest review score: 0 What Love Is
Score distribution:
8,325 movie reviews
  1. As the only Austen work to be named after its heroine, Emma must have an engaging performance in the title role to succeed at all, and fortunately Gwyneth Paltrow, after a slow start, completely wins us over.
  2. A surprisingly effective low-budget horror film that takes as its true villain the casual cynicism and nihilistic misanthropy that so often go along with online culture.
  3. Director Declan Recks underlines every emotion, every brooding pause, working against the spare dialogue with fancy-footwork camera moves and an insistent score.
  4. A self-satisfied film about insecure people, a quirky and episodic comic drama that squanders its genuine assets and ends up not as special as it tries to be.
  5. That the film is neither a true triumph nor a total disaster makes it somewhat difficult to justify revisiting "Brideshead," apart from the hope it will inspire someone somewhere to pick up the book.
  6. The heart of this film is on the road with Bateman and McCarthy. If not for their brilliance, Identity Thief would be running on empty.
  7. Although Kaveh and Raul never transcend their archetypes as heartbroken single guy and too-comfortable married man, and Hamedani and Isao aren't naturals in front of the camera, their rapport ultimately makes Junk a worthwhile lark.
  8. Fascinating.
  9. Yet with so much going for it, the film's creators have made the classic Hollywood choice and treated its actresses like flesh-and-blood special effects. If you've got talent like this, or so the theory goes, a coherent story is a luxury that can be dispensed with.
  10. Star Routh's presence and the joys of flight keep Superman Returns alive, but all those missteps dog its heels, holding it back like little touches of Kryptonite in the night.
  11. First-time writer-director Renée Chabria's sincerity and commitment to Sueño are so complete they override its sentimental streak and some overly familiar plotting.
  12. The well-crafted Beneath proves a taut, atmospheric if not especially deep thriller.
  13. It shows promise but finally hits things so hard, both literally and metaphorically, that it's hard not to feel pummeled yourself by the time it's over.
  14. Possibly because Stone empathizes so enormously with co-writer Kovic, who came back from Vietnam at the age of 21 paralyzed from the chest down, the director has lost the specificity that made "Platoon" so electrifying. In its place he uses bombast, overkill, bullying. His scenes, and their ironic juxtapositioning, explode like land mines. [20 Dec 1989, p.1]
    • Los Angeles Times
  15. Though plenty of road-tested war truths about sacrifice, honor, grit and intimacy get trotted out, "Stalingrad" is deep down a spectacle campaign forged in operatic violence and a siege of the senses, and on those terms it has its moments.
  16. It's a bare-knuckled crime drama set in 1988 that stylistically could have been made that year and emphasizes Gray's strengths as a director while drawing attention to his limitations as a writer.
  17. Fjellestad exhibits a playful adoration for the man and the otherworldly sounds of his machine in an intriguing rendering of one of music technology's seminal figures.
  18. Flawless this Joel Schumacher film is not, but it plays so well that scarcely matters.
  19. Ribière and Le Bourdonnec get almost hypertechnical with all the cattle breeds, feeds, grades, cuts, marbling, dry-aging and preparation. Nevertheless, most any carnivore would find this absolute torture on an empty stomach.
  20. It's a gritty story made in the director's more elegiacal mode, a confusion of style and content that is not in the film's best interests.
  21. Hitchcock puts major league star power at the service of its peek-behind-closed-doors premise. But whatever that relationship was like in real life, this is one cinematic portrait of a marriage we could have lived without.
  22. The young filmmaker rarely digs beneath the harsh environment's many fraught surfaces. He simply lets his cameras be his guide.
  23. 42
    Robinson's combination of fortitude, restraint and passion for the game was stunning. You can't help getting caught up in this story, even as you are wishing the telling was sharper than it is.
  24. For all its mosaic of nice details, Silverado is still a faintly hollow creation-constructed, not torn from the heart. For a generation of kids to whom the Western is a new adventure, there probably will be action and distraction enough to dazzle. Those who need to be deeply stirred by this redoubtable form will still have to wait: Silverado is good but not great. [10 Jul 1985, p.1]
    • Los Angeles Times
  25. Bubble Boy simply has the gall to make light of one of the last untouchable left in America: disease.
  26. Where "Paris" was the ingénue, fresh-faced and surprising, "New York" needed to come in with the confidence of a more practiced hand, and it never quite manages that. Better to think of it as a day trip rather than an actual film, just a brief, mostly delightful excursion into the city.
  27. If a concept is to sustain itself over a multipart story, it must make an emotional connection, and this "Reloaded," especially with stars cast for their lack of affect and affinity for blankness, cannot do that.
  28. The movie hardly allows itself any sharp moments at all -- it's much too sweet-natured to be cruel, and much too cheerful to be angry. It probably could have pushed a few more buttons, but Baby Mama aims to please and succeeds.
  29. The movie has a lot of the elements that might make it thrilling and it's visually arresting, but it's missing the emotional connection necessary to make it interesting.
  30. If I Stay takes time to find its footing amid miscalculations and awkward moments.

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