Los Angeles Times' Scores

For 8,189 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 0.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Mad Max Beyond Thunderdome
Lowest review score: 0 Dead Silence
Score distribution:
8,189 movie reviews
  1. Although Lovesick plays more like an extended sitcom episode than a full-fledged feature film, the script by Dean Young contains enough genuine laughs and amusing moments to keep this slight romantic farce afloat.
  2. Even at a meager 40 minutes, the film feels padded... But so long as the jubilance brought about by lemurs can compel more protection for the near-extinct species, the film will have served its purpose.
  3. The movie could have made its points — war is bad; music is the universal language — in half the time. But the harmonies are sweet, the acoustic picking impressive.
  4. Sweet, slight and frequently familiar, Geography Club, based on Brent Hartinger's novel about sexual identity among suburban teens, often feels as if it's circling its expiration date.
  5. The subject is absorbing, but the lack of differentiation in dramatic levels makes the film feel longer than its 126 minutes.
  6. Like the Coen brothers at their least convincing, the mix of low-grade depression and amped quirkiness never shakes off the feel of self-conscious posturing.
  7. There's no freshness here, no sense of newness or discovery. In its place, there's an earnest desire not to drop the ball, a determination to risk as little as possible in keeping this golden egg from cracking wide open.
  8. However caricatured a vision of female empowerment, Lara Croft exercises an irresistible tug not just on the adolescent male imagination but the 12-year-old female imagination as well.
  9. More science-fiction space opera than superhero epic, it works in fits and starts as its disparate parts go in and out of effectiveness, but the professionalism of the production make it watchable in a comic book kind of way.
    • 64 Metascore
    • 60 Critic Score
    Antisentimental to a fault.
  10. Whenever The Fifth Estate leaves the involving one-on-one drama between Assange and Domscheit-Berg, you wish it wouldn't.
  11. The Christmas Candle" seems destined to be a Hallmark movie of the week. But in spite of the hammy histrionics requisite for the genre, it is not at all a turkey.
  12. A few shades brighter than its predecessor, and the action bits certainly closer to the full-throttle "Lock, Stock & Two Smoking Barrels" mode director Guy Ritchie didn't quite capture the first time.
  13. Bottom line, those in the "Saw" factory know their audience and have brought along the appropriate buckets and bibs. Even devotees, however, may note pacing problems and tire of Jigsaw's selective omnipotence.
  14. The banter between Brian and Arielle is easy and often amusing. But despite all the tangled sheets and entwined bodies during assignations at the St. Regis hotel, the relationship never moves beyond the look of puppy love.
  15. Problematic but involving, Child 44 offers a picture of what individuals did to survive in a world turned upside down. The film's singular premise allows it to survive its various shortcomings, but it is a near-thing.
  16. Fascinating as it may be, the film could have used outside perspectives to provide more context.
  17. The-impossible-to-upstage stars are the penguins, a combination of real Gentoos specially trained for the film and some computer-generated counterparts. The special effects gurus blend the two seamlessly, making it easy to believe there was no digital wizardry involved, which is perhaps the niftiest trick of all.
  18. Early on, it's tempting to dismiss the noir pastiche The Girl From the Naked Eye as a warmed-over pulp wannabe, what with the overwrought camera work and clichéd dialogue. But in its moments of sometimes comically violent antagonism, the movie shows some flashes of genre pizazz.
  19. Its story line and performances are no more than serviceable, but those terrible twisters are state of the art.
  20. Fear, thanks mostly to Foley's stylish direction and a couple of strong performances, is a much better movie than "Whispers," but those familiar with the formula will get no major surprises. [12 Apr 1996]
    • Los Angeles Times
  21. What keeps you watching isn't the story or the actors, none of whom are at the top of their form, but the relentlessness of Friedkin's vision. The film has great forward thrust -- Friedkin's a full-throttle guy -- and the director knows where to put the camera.
  22. Imaginatively interspersing testimonials with reenactments, comic panels and Claymation, the film plays out like an entertaining absurdist satire.
  23. In its determination to overdo sure-fire material, Billy Elliot becomes as impossible to wholeheartedly embrace as it is to completely reject.
  24. Heavy on swordplay and spectacle, it's so intent on reviving the costume epics of the past it doesn't realize it's trying to be too many things to too many people until it collapses under its own weight.
  25. Lively and often comical.
  26. The film's heart is unmistakably in the right place — even when the camera isn't.
  27. You can see the years of effort, the polish and precision that went into creating The Boxtrolls... But somehow it still doesn't add up to enough.
  28. Movies about male friendship are often trivialized with the "buddy" tag, but this one resonates beyond that.
  29. A likably thoughtful romantic comedy.

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