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. It's a snooze.
  2. With little room to feel for or even understand Anna Maria, Paradise: Faith rarely seems more than high art with low intentions.
  3. The film works hard at its inoffensiveness. Throughout, jokes are left on the table, setups never pay off in any significant way.
  4. Writer-director Joe Eddy's debut is sincere but relies on obvious tropes.
  5. Unexpectedly flatfooted when it should be light on its toes, Legend of The Fist fails to pack much of a punch.
  6. From the beginning to its very end, The Benchwarmers seems to be struggling to justify its own existence.
  7. 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).
  8. There's a strange sort of diffidence that seems to inhabit Dafoe and Roberts' performances, and the disconnect between the two Janes is simply insurmountable.
  9. The leads can't lend either spunk or gravitas to what was already a preposterous yarn 50 years ago.
  10. A romantic drama with some good qualities -- among them earnestness and strong performances -- but not enough to completely overcome the strain of its clich├ęs.
  11. Amiable and upbeat though it is, the documentary Hollywood to Dollywood lacks a compelling reason to see it. Unless you are a Dolly Parton zealot, which its two protagonists definitely are.
  12. It isn't that nothing happens in Poolhall Junkies, it's that nothing interesting does.
  13. Transformers' multiple earthling story lines are tedious and oddly lifeless, doing little besides marking time until those big toys fill the screen.
  14. The Attorney is on the side of justice, but it's a ham-fisted dramatization of real-life events that mistakes anger for persuasion.
  15. The story is too silly, too woefully underwritten, to stake a claim on seriousness.
  16. Like a lot of other Asian sci-fi anime: a stunningly imagined world of the future populated with one-dimensional characters caught up in a trite plot.
  17. The film doesn't have nearly the bite - ferocious or delicious - that any self-respecting vampire movie really should. It's as if all the life has drained away.
  18. The first "Ghost Rider" film, directed by Mark Steven Johnson, was sort of a fizzy goof, the kind of movie where you don't expect much and then think, "Hey, that was actually kind of fun." Spirit of Vengeance, though, is undone by increased expectations, as promising more only makes it feel they are somehow delivering less.
  19. Unbalanced storytelling aside, Ozeki wisely works to keep the film focused on his actors.
  20. The movie never rises above a style-over-substance exercise.
  21. More entrails, more bare bosoms, more R-rated sex, more flatulence, more mayhem, more brutality and more violence. But it adds up to less and less.
  22. 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.
  23. The film feels overstuffed and overcooked, as if the filmmaker were trying to get too much out all in one go.
  24. Unnecessary and silly.
    • Los Angeles Times
  25. Not a remake -- it just feels like one.
  26. In its portrait of a Restless City the film is strangely inert and feels like the work of image-makers, not storytellers.
  27. The film is haphazardly structured, undercutting its potential power.
  28. Unfortunately, there's a lack of structure, context and point of view to the largely gray, grim, hardscrabble world presented here.
  29. Writer-director M. Blash's sophomore film is ethereal and trippy, told less in scenes than in oblique snatches, not unlike the experience of emotional paralysis. This approach grows wearying.
  30. Aside from a couple of rescue set pieces that bookend it, the film is strictly low-wattage in terms of action.

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