Los Angeles Times' Scores

For 10,904 reviews, this publication has graded:
  • 57% higher than the average critic
  • 6% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 West Side Story
Lowest review score: 0 Vegas Vacation
Score distribution:
10904 movie reviews
  1. Turns out to be a film that's interesting in spite of itself. It's less an impartial investigation than an advocacy film, having been hijacked by the members of the "inner sanctum."
  2. The film's long suit is the chemistry between the leads: Julian Adams, if occasionally stiff, has a strong, sometimes Matthew McConaughey-like presence; newcomer Gwendolyn Edwards shows spark as the beautiful Eveline.
  3. Far too conventional underneath all the trappings, you wish it would howl.
  4. The overall effect here is of parallel biographies juiced to feel important whenever they intersect, and an undercooked paean to lost masculinity.
  5. The four individuals' narratives are not always that compelling and make for a film best experienced on a strictly sensory level. Let the images wash over you and enjoy.
  6. A warm and pleasant romantic fantasy that shows BenGazzara and Rita Moreno to advantage but is better suited to the tube or the stage.
  7. +1
    In trying to say everything, Plus One reveals it doesn't have much to say at all.
  8. Imitating the Bourne capers rather than establishing an identity of its own, “The Take” is a strictly by-the-numbers political thriller that fails to capitalize on Idris Elba’s formidable screen presence.
  9. Despite a few inspired moments and some fun banter, Portrait of a Serial Monogamist is a slight, often random lesbian comedy that offers little new in the way of authentic depth or enlightenment.
  10. More resonant in theory than in execution, the post-Holocaust drama To Life never truly embraces the promise of its title or the roiling emotion beneath its surface.
  11. The film's underlying concept is so irredeemably screwy and far-fetched that no amount of fine work can hope to make it convincing.
  12. A stylish, serviceable recounting of Saint Laurent's life from the late 1950s through the '70s. But watchable as it may be, this drama lacks intimacy and urgency.
  13. So unashamedly confusing, so intent on piling twist upon twist upon twist, it makes your head hurt just trying to figure out what's happened.
  14. There is a guilty-pleasure quality to watching Atkinson at work even when Mr. Bean has overstayed his welcome. The film's lightness makes you wish you were the one headed to the beach.
  15. Not only does it feel like an exclusive party at which there is definitely no room for the uninitiated, its waves of idolization barely leave room for the band itself. Good as they are, They Might Be Giants deserve a better film.
  16. Whatever else Proyas has done in Knowing, he has created an ending that is sure to divide audiences into camps of love it or hate it, deeming its message either hopeful or hopelessly heavy-handed. For me, it doesn't quite work; still I'm glad he took the risk.
  17. If you can get past the gross invasion of privacy issues that would exist if this were real life and not just a frothy confection, what you have is some bittersweet fun peppered by bursts of sharp patter, the best between the boys.
  18. Though there's plenty of movement and enthusiasm, director Susan Seidelman is content with a metronomic approach to manipulating our feelings - buoyant Latin music never felt so routinely scene-setting - and seems afraid to let anyone on-screen depart from established caricature.
  19. Because the actors deliver every line in a breathless rush, their performances are monotone; and because Burrows throws in new characters and ideas every few minutes, the resolution to this story comes out rushed and goofy, and not as poignant as intended.
  20. A pleasant diversion, a lightly amusing criminal comedy with a plot so complicated even the people in it can't quite believe what's happening.
  21. Like real indie films, garage bands are by definition rough around the edges, but what separates the true believers from the poseurs is their passion, their commitment -- and not just how cool they look on screen or on stage. A mainstream endeavor tricked out as an indie, Garage Days gives us plenty to look at but no reason to care.
  22. As much as we intellectually admire Jarhead, it's a cold film that only sporadically makes the kind of emotional connection it's after.
  23. At best, the jokey bits are occasionally funny.
  24. Depp is rather sweet in portraying Don Juan's self-delusions, but his performance is hampered by the role.
  25. Earnest, gee-whiz and foursquare, this simple and intentionally inoffensive sequel gets points for being easy to take and scrupulously avoiding obvious sources of irritation.
  26. You can't have Rushmore without Max, and though Anderson obviously planned it this way, the kid is finally too off-putting to tolerate.
  27. When it becomes apparent that the seemingly linear narrative is in fact woven with several parallel story lines, one might even be inclined to excuse the plot's too many convenient coincidences.
  28. As choreographed by director Moon Hyun-Sung, the adventure seldom gets sufficiently up to speed, and on the occasions it threatens to come to life, the pedestrian action sequences fail to compensate for that lethargic pace.
  29. One Candle, Two Candles proves worthwhile at least as a cultural curio.
  30. Not having a way to capture images of the machines at work means that too much of Butler's film -- his credits include "Pumping Iron" and the Imax film "Shackleton's Antarctic Adventure" -- is disappointingly made up of computer simulations.

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