Los Angeles Times' Scores

For 9,681 reviews, this publication has graded:
  • 57% higher than the average critic
  • 5% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 That Evening Sun
Lowest review score: 0 Not Cool
Score distribution:
9681 movie reviews
  1. The Painted Veil has all the elements in place to be a great epic, but it fails to connect, to paraphrase Maugham's contemporary E.M. Forster, the prose with the passion. It's impeccable, but leaves you cold.
  2. Given the number and range of kids in view, there's a limit to how much specificity can be jammed into one movie.
  3. Annabelle works enough devil figurine juju to make for a modestly hair-raising prequel to the more satisfying scares of its predecessor, "The Conjuring."
  4. The talking-head commentary, however firsthand, personal and eloquent, can be repetitious, while the filmmaker leaves unnecessary basic information gaps in the story he’s telling. But Midsummer in Newtown is nonetheless an affecting chronicle.
  5. Succeeds best when it intensifies its focus on the work and life of its main subject, seen in interviews, home movies and in a climactic performance with Bono and the Edge on "Tower of Song."
    • 69 Metascore
    • 60 Critic Score
    If the journey is familiar, at least the company is good.
  6. Wonderfully animated and well-voiced, Rio 2 is nevertheless too much. Too much plot, too many issues, too many characters. But not too much music.
  7. The product is more pop vanity project — and one that's a bit late to the party — than onion-peeling dissection.
  8. The film remains engaging in no small part because of the beguiling and enigmatic performance of Waterston, daughter of "Law & Order" star Sam Waterston. It is a shame she isn't given a better context in which to thrive.
  9. The first-time director's unflinching camera, deliberate pacing and maddeningly long takes just amplify the story's innate harshness and test audience endurance levels.
  10. Though enlivened by occasional touches, "Smilla's" is like the food at Taco Bell: exotic only to someone who hasn't experienced the real thing.
  11. "Battle of Gods" delivers not only the familiar look but also the slapstick comedy, character interaction and over-the-top martial arts fights that "Dragon Ball" fans want and expect.
  12. Aside from a few missing transitional beats and one too many coincidental encounters, the picture's fluid, zigzagging sexuality and emotional high-diving prove largely credible and diverting.
  13. Peirce has done a remaking rather than a reimagining.
  14. Above all, its gratuitous graphic gore and exploitative nudity are unmistakably giallo. What "The Strange Color" lacks is the heart that separates a good film from a great one.
  15. Many of the performers have a distinctly unpolished way about them, almost as if they actually were turn-of-the-last-century townsfolk, which leads to some deeply eccentric line readings, but it also gives the entire film an unvarnished quality that remains curiously engaging.
  16. A sensitively told story of first love that could have been more affecting with a little more grit and without so mawkish a score.
  17. Assaulted: Civil Rights Under Fire is a reasoned counter to Michael Moore's "Bowling for Columbine" and, as such, a constructive addition to the current national firearms debate.
  18. Skippable 3-D aside, it's a serviceable, limber follow-up to 2010's "Percy Jackson & the Olympians: The Lightning Thief."
  19. The appeal of the cast, the witty dialogue, the gorgeous costumes and production design, and the refreshingly grown-up subject matter can't be discounted. Maybe it is about compromise, after all, because though Married Life has its moments, it's bewildering as a whole.
    • 66 Metascore
    • 60 Critic Score
    Dark Horse is a comedy of bad manners that's imbued with uncertainty about the world and one man's place in it. Modest and mildly entertaining, it's a miniature portrait of a potentially jumbo-sized failure.
  20. For a film that has allegedly undergone extensive tinkering following its premiere at last year's Cannes Film Festival, Down in the Valley abounds in nagging loose ends and suffers overall from logy pacing.
    • 51 Metascore
    • 60 Critic Score
    Step Brothers is not a retread so much as a reduction, stripping away the magical pretext of "Elf" and the period trappings of "Anchorman" to get to the heart of the thriving man-boy genre.
  21. Lee's energy never flags, and She Hate Me resonates with authority and impact and daring, but the messages it sends are mixed.
  22. Copeland's victories are shortchanged by the film's prevailing sense of detachment from its main subject.
  23. Besson's restored Big Blue proves mystical, intriguing.
  24. Ultimately satisfying and successful version of the opening volume of the celebrated "His Dark Materials" trilogy.
  25. An acceptable star vehicle, no better or worse than it should be, a well-worn standard diversion that gets the job done without eliciting either howls of fury or paroxysms of delight.
  26. Solidly done if somewhat unremarkable, there is nothing particularly wrong with "Broken," nothing that needs fixing exactly, and yet it never fully comes together.
  27. Even fairy tales could use a bit more substance than this.

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