Los Angeles Times' Scores

For 9,743 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 A Most Wanted Man
Lowest review score: 0 Natural Selection
Score distribution:
9743 movie reviews
  1. 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.
  2. Koechlin gives such a remarkably warm, expressive performance (she and Gupta are non-disabled) it’s hard not to be captivated by much of this tender, if choppy film.
  3. The central drama never fully engages, but the jolts that Banshee delivers are check-the-locks scary.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. Though Butcher is appealing, Saint Ralph is anchored by Scott's persuasive work as a model of intelligent decency.
  10. 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.
  11. 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
  12. The cast is stocked with some of comedy’s best actors, which elevates the rather pedestrian material.
  13. Despite a few contrivances like the impending romance between Nina and Tennessee, The Frontier remains for the most part refreshing and astute.
  14. 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.
  15. 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.
  16. (A) stirring, if inconclusive documentary.
  17. 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.
  18. Rademacher's vigorous commitment to making the documentary, as well as to his large, close-knit family, deserves respect.
  19. A story that might have been alive with messy complexity is instead genial and polite.
  20. Unfortunately, writer-director Ray Yeung leapfrogs over several key emotional beats and points of credibility. At the same time, he plies an ambitious slate of social, sexual and cultural messages, some more fully formed than others.
  21. 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.
  22. The plot doesn't rate as high as the quality of the bodies in fast, furious motion. What counts in The Transporter isn't the wafer-thin story about smugglers -- it's the way Martin kicks open a door, fends off a couple of axes and uses a perfectly ordinary sport shirt as a weapon.
  23. The movie, though uneven, benefits from a strong sense of place and an exceptionally well-cast lead.
  24. Some of the phallic jokes work, others are really lame. Fortunately there are many other funny bits that have nothing to do with body parts that keep the laughs coming.
  25. His constant chatter may grate, but Noya does the wide-eyed wonderment thing very well.
  26. If the segments are uneven, Moncrieff -- with the help of her excellent cast -- nevertheless crafts a gripping overall narrative that exposes a shared dissonance among the protagonists.
  27. Though the acting is inconsistent and the dialogue often laughable (and not in the good way), the film has an appealing can-do quality and a strong dose of craziness that keeps it from ever becoming boring.
  28. You're initially jazzed by his effrontery, but Deadpool, with his relentlessly glib, nothing-sacred attitude, is not an individual who wears particularly well.
  29. First-time actor Garrett is better at conveying Paganini's artistic sensitivity and self-indulgence than his innovative fire. When he picks up the fiddle, though, he speaks with eloquent authority.
  30. A frostbitten B-movie can still provide a little welcome relief in the dead of summer. Edge of Winter suffices as a diverting breath of recycled cool air.

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