Los Angeles Times' Scores

For 8,040 reviews, this publication has graded:
  • 59% higher than the average critic
  • 4% same as the average critic
  • 37% 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: 61
Highest review score: 100 Boy Meets Girl
Lowest review score: 0 Lethal Weapon 4
Score distribution:
8,040 movie reviews
  1. While Macy is persuasive, much of Focus is not.
  2. Despite the film's haphazard choices and aversion to subtlety, Parker and Williamson come off as appealing sparring partners.
  3. The film's political philosophy, as much as it has one, is of the "a plague on both your houses" variety, painting the rebels and the CIA as equally fixated on killing innocent civilians for their own nefarious ideological ends. We've seen it all before, and we'll likely see it all again.
  4. The juxtaposition of grim reality and pure fantasy doesn't work...the entire film seem artificial and contrived.
  5. From its standard-issue action to its halfhearted dialogue and acting, that's one situation even two Schwarzeneggers aren't enough to solve.
  6. Though not strictly a religious tract, Henry Poole Is Here is undeniably selling spiritual reawakening. If only its makers believed that aesthetically useful adage: God is in the details.
  7. Limp spoof.
  8. If director-co-writer Karim Aïnouz has set out to depict soulless gay lives, he has more than succeeded.
  9. The whole movie could be clipped by about 95 minutes and it would make a swell little video for Simpson's performance of the title cut from the soundtrack.
    • 24 Metascore
    • 40 Critic Score
    It contains, perhaps, one pinkie-toe bone of surprise in its skeleton of cliche.
  10. Hits hard and pulls no punches in telling its brutal story.
  11. There's no doubt Sandler is talented, but if he persists in believing that, like Elvis, his presence alone covers a multitude of omissions and inconsistencies, he will squander his gift and make a series of forgettable films in the process.
  12. Though Page-Lochard manages to make his passive participation in violence compelling, Around the Block remains more lecture than drama about racism and its tragic consequences.
  13. It's a grindhouse-inspired concoction that may not contain a shred of originality, but it is executed with unbridled bombast and glee.
  14. Youthful audiences won't be attracted to a love story between two 54-year-olds in the first place, and mature audiences will be turned off by the language, not necessarily out of prudishness, but out of its sheer crassness.
  15. A movie with a location named Snake Island should deliver more fun than this.
  16. Long on atmosphere and short on sense, The Tall Man becomes less gripping as it grows more ridiculous.
  17. This brief film often feels like an extended gripe session instead of something more profound or game-changing.
  18. Artificially jacked up to feel like mean but serious fun, Sabotage mostly flings blood, vengeance, testosterone and clichés to the wall to see what sticks.
  19. In blurring the lines between truth and fiction as well as right and wrong, Third Person maddens far more than it intrigues. Indeed, more curious than anything about the movie itself is how such an artistic stumble happened.
  20. It is a disappointment coming from writer-director David Cronenberg, who has proved such a master at mind games. Cronenberg is perhaps too faithful to the book. The topic is provocative and certainly timely, but the film never achieves the incisive power of his best work, "A History of Violence" for one. Even an A-list ensemble that includes Juliette Binoche, Samantha Morton and Paul Giamatti can't save it.
  21. Not only screams out to be a midnight movie, but one in need of, shall we say, an herbal supplement, and we aren't talking ginkgo biloba.
  22. The film does have a certain flair and pace and is lively enough to be mildly diverting.
  23. It's big, cartoonish and empty, with an interesting premise that is underdeveloped and overproduced. [3 July 1985, p.Calendar 6]
    • Los Angeles Times
  24. Only 97 minutes but feels much longer. It suffers from a marked lack of energy, a condition not cured by its many, many pop-music-scored montages.
  25. Inventing the Abbotts is pointless soap opera, anecdotal and superficial, mixing sibling rivalry, class conflict and tragic romantic entanglements in a style that mimics fictional life in the '50s more than it illuminates what went on.
  26. Director/co-writer Adam Sherman's Bukowski-lite character study is one of those exercises in masculine self-pity and glib misogyny that frustrates because of its shortsightedness.
  27. An interesting idea, but unfortunately, the film's narrative and emotional engine operate as mechanically as the titular, dead-eyed glamazoids.
  28. Though amusing from moment to moment, is erratic, unfocused and uncertain where it's going.
  29. This is not the cool, eerie déjà vu, but the "Hey, isn't that exactly what happened in the first movie?" déjà vu.

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