Los Angeles Times' Scores

For 10,045 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 1.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 WALL-E
Lowest review score: 0 Awakened
Score distribution:
10045 movie reviews
  1. Despite its gorgeous soundtrack, historical sweep and wealth of archival material, (the film) is weakened by sluggish pacing and an overly detailed, increasingly narrow focus.
  2. This is pretty unremarkable stuff that has little to excite outside of its nicely done twirl-and-dip sections, choreographed here by West Coast swing dancing guru Robert Royston.
  3. Perched uncomfortably between flat whimsy and Lifetime movie crescendos, the coming-of-middle-age comic drama The Private Lives of Pippa Lee is rough going.
  4. Striking images of sex and violence combine with an often effective sense of dread as these grim story lines unfold. But without sufficient context and psychological underpinning, less proves decidedly less.
  5. [Barthes'] measured, distanced style brings a certain stiffness to the proceedings and makes us miss even more than usual the Emma Bovary interior monologue that makes the book so memorable.
  6. Because the series' plot reveal turns out to be more confusing than compelling, and because turning a novel into two films invariably leads to inflated productions, only the most devoted fans of the book will pledge allegiance to what's on the screen.
  7. Neither funny enough to be a comedy nor serious enough to pass for drama, and it ambles along aimlessly before grinding to an unconvincing halt.
  8. It doesn't gel and lacks the kind of visual kinetic energy we’ve come to expect from films of this ilk.
  9. It's a pleasure to watch Lane's delicately lived-in face tremble with feeling -- it's the truest thing in the movie -- but the character's desperation feels wrong, the worst kind of sellout.
  10. Lacks freshness and vitality.
  11. Oliver's instant switch from bespectacled nerd to Thai-stick smoking, love-struck tourist is more embarrassing than convincing, as is the film's reliance on literally elephant-heavy symbolism.
  12. Films can't just sound good on paper; they have to be effective on the screen, and in that form, The Statement is disappointing.
    • 48 Metascore
    • 50 Critic Score
    A mash-up of indie-film tropes.
  13. Unsteadily pitched between horror and comedy, Secret Window turns out to be neither terribly scary nor especially funny.
  14. As sequels go, this one is acceptable, nothing more, nothing less.
  15. It’s So Easy suffers from an approach that leans more on telling than showing, and we just have to take his word for it that his life’s events are that fascinating.
  16. Whatever personal risks first-time director Hossein Keshavarz took to make the film, there's little sense of danger in the finished product, which offers snapshots of middle-class Iran but falls flat on the dramatic front.
  17. Airheads, directed by Michael Lehmann and scripted by Rich Wilkes, is far from great. But it sure is ripe. It's bursting with bad ideas, half-good ideas, good and bad actors yelling and mugging. Like a lot of youth comedies, it's frenetic where it should be inspired.
  18. There is a moment in The Tourist when Johnny Depp turns to Angelina Jolie and asks "Why is all this happening?" It's a question moviegoers will be asking themselves as well.
  19. Boy
    Writer-director and co-star Taika Waititi ("Eagle vs Shark") never builds much momentum for his largely uneventful if sometimes inventive story.
  20. While its ambition and scope pull one way, its pinched and unconvincing sense of drama pull the other.
  21. Muddled tale of faith and reason.
  22. All these intriguing good intentions, however, have largely gone for naught because of a variety of missteps, starting with an increasing implausible plot as well as the fact that Ledger's Harry looks about as likely to pass for an Arab as the Mahdi is to pass for Queen Victoria.
  23. More surprising is Perry's inability to write back-and-forth dialogue with any real wit or verve. He is at his best when writing speeches, and some of the film's best moments come when Union is given snappy monologues on the state of contemporary relationships and African American maleness.
  24. Stone covers territory all too familiar to most Americans old enough to remember the JFK assassination.
  25. Despite a few delights — chiefly an adorably self-aware Joe Manganiello as the object of Pee-wee's man-crush — the new movie has an unsure tone and the barest thread of a story.
  26. Hunt, whose debut feature was “Frozen River,” has a steadfastly classicist approach to tried-and-true genre storytelling that’s admirable, but instead of building tension, The Whole Truth lets it bleed out.
  27. Rock can't set up a decent-looking shot, and he doesn't care about niceties such as character development and all that narrative downtime in between jokes. But he nonetheless wrings biting humor from serious issues with the sort of ferocity that made Richard Pryor and Lenny Bruce men of respect as well as comedy.
  28. If The Core finally has to be classified as a mess, it is an enjoyable one if you're in a throwback mood. After all, a film that comes up with a rare metal called Unobtainium can't be dismissed out of hand.
  29. There are a few surprising flavors in Nina's Heavenly Delights, but it's more of a samosa than a meal. The ceiling is set pretty low when characters start exhorting each other to "follow your heart." Which they do, early and often.

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