Los Angeles Times' Scores

For 8,441 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 0.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Warsaw Uprising
Lowest review score: 0 Fair Game
Score distribution:
8,441 movie reviews
  1. As with the DeMille ventures, enjoyment here involves managing expectations and not taking things too seriously.
  2. Despite the riveting performances of Renfro and McKellen, we're left with classic horror-movie sociopaths, evil-doers without conscience, or much to say about the nature of evil.
  3. The new thriller from South Korean director Park Chan-Wook is a bizarrely perverse, beautifully rendered mystery that you may or may not care to solve.
  4. Mendes is charismatic and likable as Grace - perhaps too likable. Conveying Grace's parental blind spots, she doesn't turn her character's single motherhood into an argument for sainthood. Yet she avoids any darker glimpses that would lend a more satisfying complexity to the mother-daughter tension and to the movie's too-neat ending.
  5. Lurie undermines his high-wire act with the melodramatic carryings-on of the diner patrons.
  6. Stewart acquits himself solidly, though not thrillingly, as a beginning director, doing especially well in the film's involving central section dealing with Bahari's time in prison, where the filmmaking is as compelling as the feature's intentions are admirable.
  7. Two-Bit Waltz is watchably imitative, arch nonsense. It has committed performances — including a deadpan turn on the edges by William H. Macy as the dad who's only seen reading books — and the occasional, provocatively funny line of dialogue.
  8. The two men collaborate so well, in fact, that the real love match of Appaloosa is between the two of them and no one else.
  9. There is enough ridiculous fun in the Tracy Morgan- Bruce Willis pairing as two of Brooklyn's "finest" to get many of you past the squirm-inducing stuff.
  10. Nakache and Toledano...pepper the film with enough stirring emotional beats, crowd-pleasing bits...and vivid supporting characters such as Samba's ebullient immigrant pal, Wilson (Tahar Rahim), that there are distinct pleasures to be had.
  11. The bookish group at the heart of this talky film is having such a grand time trading tart exchanges their mood proves infectious. The sparring helps offset some of the contrivances that make Liberal Arts less buttoned up than it should be - so an A for effort and a C for execution.
  12. While there's regrettably nothing terribly witty or surprising about any of this as either love story or laugh machine, director Scott Marshall does manage a breezy, good-natured tone toward this oft-mocked cultural phenomenon that allows for eye-rolling and smiling in equal measure.
  13. There is more to admire in A Beautiful Mind than you might suspect, but less than its creators believe. When the film does succeed, it almost seems to do so despite itself.
  14. Phantom is a relatively tight, gripping story told with efficiency that makes room for its fine roster of actors to explore old-fashioned ideas on honor and loyalty.
  15. Ironically this big, lumbering movie could have used more, not less. More Godzilla without question, and more emotional content for its very good cast too.
  16. You can't roll monstrous boulders straight at audiences any more and have a whole theater-full duck and gasp with fright--and pleasure. We may be plumb gasped out. And although Harrison Ford is still in top form and the movie is truly fun in patches, it's a genre on the wane. [24 May 1989, Calendar, p.6-1]
    • Los Angeles Times
  17. The largely engaging class-reunion dramedy 10 Years allows audiences to pretend they went to high school with the likes of Channing Tatum, Justin Long, Rosario Dawson, Anthony Mackie and Kate Mara.
  18. The animation style mirrors the original, which is simple in an appealing way. It is particularly effective in the action sequences, which make the most of animation's ability to create a playful reality. But the multi-layered historical references designed to be adroitly wry are a trickier gambit.
  19. Though the story is drawn in broad strokes and overloaded with melodrama, director Mat Whitecross' exuberant feature understands the communal joy and personal necessity of rock 'n' roll.
  20. Director Paul Anderson, whose last film was "Mortal Kombat," well knows how to build suspense and increase tension. But counterbalancing all of that is Event Horizon's position as a sci-fi splatter film, intent on drenching the screen in blood and gore whenever possible. [15Aug1997 Pg 16]
    • Los Angeles Times
  21. A visually wondrous experience in high-contrast black and white, bogged down by a slow, underwrought story and uninvolving characters. It would be easy to dismiss it as another great-looking film with little else to offer, but that wouldn't be entirely true.
  22. The result is a sure-fire crowd-pleaser that will strike Chen's admirers as a heartfelt but decidedly minor effort.
  23. The problem with The Runaways is that they went with the wrong girl.
  24. Comedy is ever an effective weapon against hypocrisy and oppression, but to be effective it has to cut a lot sharper and deeper than it does in You I Love.
  25. Deliberate silliness is hard to sustain, but Undertaking Betty pretty much succeeds.
  26. It's just that there isn't enough story - the book shouldn't be required reading for the film to make sense.
  27. Make no mistake, Vamps is mostly a misfire, but Heckerling still shows enough flashes of wit and wisdom that she remains hard to entirely dismiss. Don't bury that coffin just yet.
    • 59 Metascore
    • 60 Critic Score
    Ecological passion meets unquenchable self-aggrandizement in the beautifully filmed deep-blue-alert documentary Sharkwater.
  28. You get the sense that Kelly is too angry to really find any of it funny. It's easy to empathize with his position, not so easy to remain engrossed in a film that's occasionally inspired but ultimately manic and scattered.
  29. To his credit, writer-director Nathan Morlando has crafted a stylishly shot and evocatively designed period piece. But it's the dashing, quietly charismatic Speedman who proves the main draw, holding our attention even when the movie doesn't.

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