Los Angeles Times' Scores

For 7,774 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 Hannah and Her Sisters
Lowest review score: 0 Awakened
Score distribution:
7,774 movie reviews
  1. It is billed as a comedy, but it's really a lipstick-smeared drunken tragedy. The humor is so caustic you won't know whether to laugh or cry.
  2. It's a snooze.
  3. The film is only slightly more boorish than the racy cult hit was on telly and would probably not be worth the celluloid expended were it not for the bookish, brainy Will McKenzie (Simon Bird).
  4. A by-the-numbers thriller that often looks as murky as its plot.
  5. As always, Jovovich's game face is admirable - whether giving gunslinger shade or play-acting a protective mother storyline straight-outta-Cameron. But it can't be easy when all around her are line readings that recall the glory days of baroquely dull foreign-movie dubbing.
  6. There are some crowd-pleasers - but Hotel Transylvania never becomes the great monster mash that seemed in the offing.
  7. Had V/H/S been a nasty jolt of three, it might have been memorable, but at nearly two hours, the gimmick punctures a hole in itself, causing ambience bleed-out. Recommended cure: a tripod
  8. An investment in theatrical self-indulgence with diminishing returns.
  9. The film works hard at its inoffensiveness. Throughout, jokes are left on the table, setups never pay off in any significant way.
  10. Unfortunately, attempts to be original are not enough, they have to succeed, and this film's solutions tend to present themselves as alternately gimmicky and banal.
  11. The story becomes more ridiculous as it escalates, the film's over-determined ecological focus undermining any real horror movie tension. Levinson's casting choices are off-the-mark as well - star Kether Donohue is just plain bad.
  12. It's terribly long and repetitive for so delicately dreamy a diptych, and at times the modern-day story feels like little more than a drawn-out apologia for the wandering male gaze.
  13. While a foreign regime exerting its emergent power over America certainly has a familiar ring to it, if anything, this new Red Dawn is a movie in search of its moment.
  14. Director Feng Xiaogang captures the epic scale of the exodus as well as the often-harrowing details, yet emotional connection proves more elusive.
  15. Melton and Dunstan have created little more than a hollow shell for an empty box.
  16. Romance and capers exist in Lay the Favorite, they just aren't played well.
  17. Some of the language is smart, sinister and ironic in just the right ways, particularly when Addison, Eric Bana's serial-killing mastermind, delivers it. In other cases, the dialogue is so ludicrously off - either unnecessary, or unnecessarily misogynistic if a cop is doing the talking - that it's hard to believe the same person wrote it.
  18. There is something promising about the match-up of an old-school show-biz kid like Streisand with the modern, anxiously self-aware Rogen, but what could have been the multigenerational Thunderdome of Jewish Humor instead turns out bloodlessly disappointing.
  19. So thrill-less, so chill-less is Jack Reacher that it is unlikely to spark interest, much less controversy.
  20. Lazy, smugly self-satisfied movie.
  21. The original "Texas Chainsaw Massacre" leaves audiences feeling hollowed out, dispirited and dissolute. Texas Chainsaw 3D is simply a bummer for being a big nothing.
  22. The soul of the era is missing, and with it any reason to care. In Fleischer's hands, the high-stakes shootouts are as stylish as a GQ spread, but it's nearly impossible to figure out who's zoomin' who.
  23. Nothing clicks, nothing resonates, everything's broken.
  24. Efficiently told and features solid performances, but without the juicy character detail, vise-grip suspense or black comic intensity of its memorable forerunners, it unwinds as a boilerplate genre item.
  25. It's big, cartoonish and empty, with an interesting premise that is underdeveloped and overproduced. [3 July 1985, p.Calendar 6]
    • Los Angeles Times
  26. By our quote-unquote standards of contemporary comedy, it plays as uneven at best and often just flattens out for long jokeless stretches.
  27. Though assured in execution and not without a few moments of genuine tension — mainly emanating from Combs' flinty weirdness — Would You Rather is hardly a most dangerous game night at the movies.
  28. All the talking would be fine, but the dialogue is preachy, the drama too earnest and the action kind of sluggish, though it's hard not to get a jolt when Johnson jumps behind the wheel.
  29. Really the biggest problem with Dark Skies is that Stewart can never quite decide just what story he is telling — a slow-burn horror parable or paranoid invasion flick — or whether to focus on this character or that, instead struggling to string together scares regardless of how they fit together overall.
    • 41 Metascore
    • 40 Critic Score
    Mumia Abu-Jamal would be the perfect subject for an investigative documentary that explored his life and thought with a calm and even hand. Mumia: Long Distance Revolutionary is not that film.

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