Los Angeles Times' Scores

For 8,560 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 0.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 House of Sand and Fog
Lowest review score: 0 Fair Game
Score distribution:
8,560 movie reviews
    • 42 Metascore
    • 60 Critic Score
    Even if Show 'Em What You're Made Of doesn't answer McLean's essential question of what men do after life as a boy band, the carefully crafted film is an engaging look at how they got to here.
  1. The gimmicky nature of the flashbacks weakens the story and lessens the film's suspense. Nevertheless, The Burial Society is a clever, spiritual film that argues that God sees all and, what's more, he's always right.
  2. There's plenty of pacing verve in Costa-Gavras' technique, and the residue from that first thrilling peek inside the hermetic world of big-time money-moving never goes away. What's lacking is most surprising from this dissident filmmaker: the emotional outrage.
  3. Beautifully made but emotionally empty, it exists only for the sensation of its provocative moments.
    • 65 Metascore
    • 60 Critic Score
    If Simon's hands-off approach precludes a thorough stock-taking of Dreier's misdeeds - numbers alone hardly tell the full story - the movie's subject obligingly avails himself of the ample rope.
  4. Robert Redford, who for the first time stars in a movie he's also directed, has taken this soap opera material and treated it like something inscribed on yak vellum by the Dalai Lama.
  5. It can feel repetitive and oversimplified. Aesthetically, though, it has an aching, dreamlike pull, constructing a panoramic view of history through the prism of collective and personal memory.
  6. As a harangue about cyberbullying, it's purely exploitative, but when Unfriended zeros in on the whiplash mixture of freedom and torment we get from multitasking our online lives? It's srsly fun, imo.
  7. The Wolverine is an erratic affair, more lumbering than compelling, an ambitious film with its share of effective moments that stubbornly refuses to catch fire.
  8. Starts encouragingly and finishes strongly with a twist, but the middle is weighed down by too much discourse when it should be visually evoking its ideas and developing its mood of unease.
  9. Though its snapshot approach is uneven, Harvest is itself a valuable resource: a good starting point for a fuller perspective on this nation of immigrants.
  10. Director Bruce Beresford ("Driving Miss Daisy") knows how to tug heartstrings but as he moves the inspirational material toward its tear-jerker finale, it's often hampered by awkward melodrama.
  11. In the role of dramaturge, Rogen and his co-scripter Goldberg lack Apatow's discipline and deft hand for peripheral characters; the writing in Pineapple Express gets lazy whenever it strays too far from its central axis of players.
  12. The central drama never fully engages, but the jolts that Banshee delivers are check-the-locks scary.
  13. There's so much that's authentic and likable about the loopy road trip comedy Let's Ruin It With Babies that it's a shame when it loses its mojo along the way.
  14. Self-conscious about its heroism with portrayals that lean toward the glib and the professionally uplifting, the film milks our sympathies too readily to be emotionally convincing.
  15. Rachel McAdams gives the kind of performance we go to the movies for. The rest of the film isn't always up to her level, but it does provide genial entertainment until it runs out of steam.
  16. The film is clever in using a child to tease out the misunderstandings that arise between those on opposite sides, even when the river of emotions that should course through The Little Traitor sometimes runs dry.
  17. As frigid as its name. Burdened with a story of some of the world's least interesting people going through a holiday crisis, director Ang Lee and screenwriter James Schamus get as close as any creative team could to making matters involving, but the task is finally too much for them.
  18. Though Butcher is appealing, Saint Ralph is anchored by Scott's persuasive work as a model of intelligent decency.
  19. Du Welz, despite a strong assist from cinematographer Manuel Dacosse, rarely musters the requisite tension or propulsion to immerse us fully in the story's wickedly wild ride.
  20. Oblivious to niceties like subtlety, plausibility and discretion, it rushes heedlessly toward its destination of audience arousal. Like a flood, the impact is undeniable but it's not something everyone will want to get in the way of. [24Jul1996 Pg. F.01]
    • Los Angeles Times
  21. Despite a few contrivances like the impending romance between Nina and Tennessee, The Frontier remains for the most part refreshing and astute.
  22. Both well-timed and oddly late-on-arrival, the good-natured documentary Electoral Dysfunction attempts to lay bare the irregularities behind the American voting system but, for some, it may feel too lightweight and coy for genuine effect.
  23. Because The Institute is largely framed as if the viewer were a co-player in Jejune's game, the film is an experience that's fun and frustrating in equal measure.
  24. (A) stirring, if inconclusive documentary.
  25. It's a tad overstuffed, but never lacks for interest. And Saulter, who serves as his own director of photography, has a poet's eye for detail, capturing the beauty of his native country, even in its most extreme poverty.
  26. Rademacher's vigorous commitment to making the documentary, as well as to his large, close-knit family, deserves respect.
  27. A story that might have been alive with messy complexity is instead genial and polite.
  28. Concerned mainly with the mechanics of the undertaking, the movie is less an incisive chronicle than a galvanizing tool for parents who are, understandably, frustrated with the system.

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