Los Angeles Times' Scores

For 9,670 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 Fire at Sea
Lowest review score: 0 Nothing Left to Fear
Score distribution:
9670 movie reviews
  1. It all makes for a family therapist's dream scenario, but an otherwise choppy and predictable memory piece.
  2. It's a compelling and ambitious idea, but one that misfires because of its underwhelming characters and slack storytelling.
  3. Along with the performances, there is a languid truthfulness in some of the dialogue that keeps Seeing Other People from being one of those completely forgettable indie romances that play in perpetuity on cable.
  4. The overwrought plot mechanics are exasperating, but the lead actresses' exquisitely modulated performances get under the skin.
  5. As good as the leads and the supporting cast are, and as much action as gets packed into the film's relatively brief running time, none of it draws us in dramatically.
    • 54 Metascore
    • 50 Critic Score
    Ends the series' winning streak, or at least slows it down to a panting, dog-day crawl.
  6. Breathtaking moments give way to boring ones; searing emotions vie with the exceedingly bland.
  7. This is Shakespeare lite, which ultimately makes for Shakespeare slightly trite.
  8. Raucously energetic and replete with a barrage of graphic sexual humor.
  9. Manages to sustain a sweet, funny groove for, say, 65 of its 85 minutes.
  10. One Direction: This Is Us is not the raw confessional that title might imply but rather both a primer and new product presentation.
  11. Russell Crowe is invariably involving on screen, and Ridley Scott is a splendid director when the material is right. No film they collaborate on will be devoid of interest, but A Good Year almost is.
  12. If you're in the mood for a hip-hop film with more happy faces than "The Partridge Family," Honey will divert you.
  13. There are a few chuckles to be found in Bill, but this is decidedly more "Robin Hood: Men in Tights" than "Monty Python and the Holy Grail."
  14. Winterbottom, who's never been a director with a gift for warmth, can't make this romance come alive. Morton and Robbins are gifted actors, but they seem straitjacketed here, and the film finds it difficult to avoid tedium as their lugubrious relationship unfolds.
  15. For the most part, this is the kind of immersive fanboy experience that doesn't suffer wandering attention spans.
  16. Without Davidson Stargate might seem clunky and routine, but he gives it a weirdo charge. It may be a lousy movie, but it's a more enjoyably lousy movie than most.
  17. A practiced piece of Hollywood hokum, way too calculated and contrived, especially for a film that nominally celebrates the chaos and creativity of the 1960s.
  18. A nutty, often enjoyable farrago of craft and cinematic sampling, King Arthur moves fast and loose, and is almost aggressive in its absence of an original idea, in and of itself a Bruckheimer trademark.
  19. The film shares that most common of mainstream flaws, a malnourished script. Written by John Zaring, the film brings together some very fine actors (Frank Whaley and Annabeth Gish) playing barely there characters with less-than-compelling obstacles keeping them apart.
  20. By boiling too much down to black and white, Camp X-Ray's ability to say something significant is diluted.
  21. It almost seems like harder work somehow to get this many comedians together and then turn out a movie that is only so fitfully funny.
  22. Dunne and Wittenborn, who adapted his book, work too hard at stressing just how ruthless the unspoken standards of the stinking rich can be, leading to a story-pivoting act of brutality toward Finn that careens the movie into a tonal wilderness that it never recovers from.
  23. In attempting to spin out its competing storylines, the crime drama The Forger never quite gets a handle on either one. Still, an array of strong performances, including a well-calibrated turn by John Travolta, and compelling emotional moments help counter the patchy narrative.
  24. The movie contains enough warmth, humor and nostalgia to prove an affable if unremarkable snapshot.
  25. Dahmer moves with a slowness that's meant to be compelling but is largely merely glum. This becomes a hindrance to building suspense in telling a true story whose outcome is already well known.
  26. Though audiences will leave theaters with an increased appreciation of this pair's talents, they will also leave pondering the perennial Hollywood question: How come so little of interest could be found for performers who are capable of so much more?
  27. A charming supporting cast fails to invigorate Goodbye to All That, a relentlessly flat seriocomic take on contemporary relationships.
  28. Fifty Shades encourages us to buy into this credulity-straining scenario because the actors go well together (casting director Francine Maisler did the heavy lifting), Dornan's steely resolve facing off nicely against Johnson's engaging feistyness as each tries to make this cross-cultural relationship work on his or her own terms.
  29. Gentlemen, it's a male chick flick - "The Dirty Secrets of the Ya-Ya Brotherhood."

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