Los Angeles Times' Scores

For 8,703 reviews, this publication has graded:
  • 58% higher than the average critic
  • 4% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Out of Sight
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
8703 movie reviews
  1. Droll, unforced humor and low-magnitude emotional tremors register persuasively thanks to the natural performances of the three leads.
  2. Like its central character, Henry Jaglom's 16th feature is gangly and graceful, awkward and tender, a jumble of astute observation and clunkily heightened reality.
  3. The pervasive historical reenactments and voiceovers, however, while clearly well-intended, often turn this otherwise vital film into an uneasy hybrid of authenticity and artifice.
  4. Dear Frankie's surprises are few and low-key, but the story wraps up nicely.
  5. Although it favors breadth over depth, the documentary The United States of Autism offers a tender look at an eclectic array of children, their parents and other individuals affected by this ever-increasing developmental disability.
  6. There's enough atmosphere, mayhem and just plain energy to make the film a viable midnight movie.
  7. An oddly appealing, if innocuous, movie of considerable charm.
  8. The movie's intended audience will likely be satisfied by its parade of gory mayhem, cheap thrills and groan-worthy dark humor. Everyone else: You're on your own.
  9. There are moving moments as Cornish channels the slow self-enlightenment necessary for Ashley's character arc. And the actress is particularly good in the scenes with the promising young Hernandez.
  10. It would be dishonest to deny that Jade Scorpion has amusing moments, but it never gets better than that and often settles for less.
  11. A fitfully engaging effort that is most successful as a performance piece for actors Kat Dennings and Reece Thompson.
  12. Sophie Deraspe's film is a compelling anatomy of an Internet hoax.
  13. Despite the creakiness of the vehicle, there are some genuinely funny moments and observations.
  14. As enjoyable as this film is in parts, it's not nearly as successful as a whole. Enormously engaging in its opening segments, it's unable to sustain that good feeling over the long haul.
  15. Although it, too, is gorgeous to look at, this skeletal thriller is as direct and spare as its Mennonites. [08 Feb 1985]
    • Los Angeles Times
  16. If you want to see old-fashioned nonstop mayhem with stars so venerable that "The Leathernecks" (and I don't mean Marines) might be an alternative title, reviews are going to be superfluous. If you don't want to go, no review can change your mind.
  17. There are moments of beauty here, but not enough to make up for the mannered dialogue and hamstrung performances. Persons attempting to find a motive in this narrative won't be prosecuted, but they'll probably be disappointed.
  18. Cinematically, though, After the Cup lacks the intimacy and narrative focus needed for a more wholly involving experience.
  19. A movie-of-the-week treatment of race and class, the film credibly portrays the day-to-day workings of an urban ministry.
  20. With a hilarious script and capable cast, the film puts a clever spin on the everyone-is-a-suspect plot.
    • 68 Metascore
    • 60 Critic Score
    Charting its protagonist's agonizing slide into senility, the Japanese melodrama Memories of Tomorrow invites mostly unflattering comparisons with "Away From Her."
  21. A thoughtful but uneven film.
  22. Unfortunately, Dylan Mohan Gray's slow and steady exposé never quite manages the propulsive gut punch its incendiary subject demands.
  23. A raunchy doodle, a leisurely and easygoing diversion that goes down easy enough but is far from compelling.
  24. A charming mess with moments of hilarity.
  25. To see this overly schematic movie, is to be made to feel -- inaccurately as it turns out -- that the whole thing is a hopelessly exaggerated fabrication. The taint of the melodramatic techniques used in key segments infects the entire movie and makes us question the truth of a significant historical reality.
  26. Bisexuality certainly increases the geometric possibilities of the romantic comedy, completing its triangles and allowing for quadrangles and other, more amorphous layers of amorous involvement.
  27. What Spy Game turns out to be is the old reliable family car spruced up around the edges in an attempt to convince a new generation of buyers that it's a hot number.
  28. Unfortunately, this film is not as convincing as LaBute's first feature ("In the Company of Men"), for it betrays its origins in the theatricality of its dialogue, resulting in an aura of artificiality.
  29. These and wickedly funny backstage snapshots of moviemaking are the good times of Postcards, but even they can't hide its emotional starvation. [12 Sep 1990, p.1]
    • Los Angeles Times

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