Los Angeles Times' Scores

For 7,701 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 0.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 The Four Times (Le Quattro Volte)
Lowest review score: 0 Waking Up in Reno
Score distribution:
7,701 movie reviews
  1. The promise it begins with doesn't pay off. And while Arthur Newman is not a complete disaster, it does leave you wishing the romance and the ride had been a whole lot smoother.
  2. There's still a nagging, cartoonish emptiness — and a trilogy-ending installment still to come.
  3. The great failing of The Iceman is not in giving us a monster, but in not making us care.
  4. With many languid scenes and little narrative momentum, Algrant may have been aiming for a more ethereal father-son heartbreaker. But all that comes across is twee hipster romanticism.
  5. A flavorless feast, with the movie's few mystical leaps clunkily handled.
    • 55 Metascore
    • 40 Critic Score
    The director has steadfastly proclaimed his passion for the novel, but the film he's made of it too often plays as no more than an excuse to display his frantic, frenetic personal style.
  6. No One Lives is a cheap horror prank that's ultimately not clever or accomplished enough to sustain its eccentricities, and they are very bloody eccentricities indeed.
  7. While the plot is a non-starter, the margins of Gold and co-director Tammy Caplan's debut feature are scattered with other real-life magicians who make quarters vanish every time our attention does the same.
  8. Free Samples is a film about wasting time, and it feels like it. Despite clocking in at 79 minutes, Jay Gammill's comedy drags by no fault of its delightfully sour lead.
  9. For all the talent up on the screen — and one can't fault the performances — the movie just doesn't deliver.
  10. A sweet, sincere, yet ultimately tepid story.
  11. Violet & Daisy comes out of the gate guns blazing. Too bad it ends as a misfire.
  12. It's a handsome nothing, at least until you get sick of the screaming.
  13. Unfinished Song is a movie so geared toward hitting its spots, it amounts to emotional Muzak rather than something truly played live.
  14. The hour of mike time isn't as strong as such previous dispatches as "Seriously…Funny."
  15. Kramer, 10 years removed from his lone critical success, "The Cooler," and writer Adam Minarovich aren't exactly aping Tarantino, if only because they don't have the talent or inclination to aim that high.
  16. What could have been an empowering and amusing riff on the typically male underdog genre is mostly charmless.
  17. There's a great story at the heart of Matej Minac's documentary Nicky's Family, if only it were allowed to be told unvarnished.
  18. The Rooftop is a bullet train to bananasville, its tonal eccentricities sure to wear out even the most dedicated connoisseur of silly cinema.
  19. A tonal jumble, veering between forced farce and tired, rom-com beats, with little feeling real or true.
  20. It's hard to remember when actors have stepped into such a no-win situation and mustered up such panache: Turturro may be on a sinking ship, but he manages to drown brilliantly.
  21. There's little that feels fresh, freaky or funny about one more batch of eccentric reactions to hungry corpses, one more attempt to creatively splatter, one more metaphor for zombie invasion.
  22. When Drift sticks to the likable, gently humorous contours of occasionally fractious brotherly love, broken up by thrillingly shot surfing footage, it has plenty of charm, period flavor and breezy visual breadth... Where the movie routinely disappoints, though, is in pursuit of a perfect storm of conflict story lines.
  23. The elder Makhmalbaf, who wrote and directed, puts many spins on this ethereal mood piece — it is by turns poetic, impressionistic, metaphorical and even a bit trippy — without satisfying such genre basics as structure, depth and resolution.
  24. Though individual set pieces are well done, the film inevitably leaves an empty taste behind it once it's done.
  25. We're the Millers is full of moments that feel as forced as the marriage of convenience — and contrivance — in the movie.
  26. [Guo's] film, which at first hints at a wry critique of materialism but ends up reveling in it, is a timely snapshot of aspirational glitz in the big city.
  27. With little room to feel for or even understand Anna Maria, Paradise: Faith rarely seems more than high art with low intentions.
  28. Unfortunately, there's a lack of structure, context and point of view to the largely gray, grim, hardscrabble world presented here.
  29. Dark Tourist gets bogged down in insufferably slow-moving scenes — interestingly, when Jim is interacting with others, despite consummate performances from Cudlitz and Griffith.

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