Los Angeles Times' Scores

For 9,900 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 1.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Saraband
Lowest review score: 0 Saw VI
Score distribution:
9900 movie reviews
  1. Passable in its efficiency, Fired Up! is less offensive than it might have been while also managing to be staggeringly uninspired.
  2. Not everyone, for sure, is going to be able or willing to go the distance in this ambitious but exceedingly offbeat epic, which is great-looking and has a sweeping romantic score by Hartley himself.
  3. Writer-director-actor Miles Doleac’s sprawling Southern-fried mystery The Hollow has the rich characters and milieu of a good literary novel, but never quite works as a movie.
  4. A Walk Among the Tombstones is the creepiest film I've seen in quite some time, and that's not meant as a compliment.
    • 36 Metascore
    • 50 Critic Score
    Although Ice Cube is still happy to haul out his old snarl when it serves his purposes, he's clearly trying to reinvent himself as a family entertainer. But the milder he gets, the less confident he seems. What's a reformed gangsta rapper to do?
  5. De Niro’s scenes with Mann glow with warmth and wit, but something in his performance clenches up whenever Jackie gets behind a microphone and starts railing about masturbation, incontinence and other below-the-waist targets.
    • 49 Metascore
    • 50 Critic Score
    "Killing" never moves past a superficial understanding of its subject, whose transcribed ramblings may not be the best key to unlocking his fractured mind. The movie gets inside Chapman's head but never under his skin.
  6. If the bad guys didn't reappear with welcome regularity, "Money Never Sleeps" would be even more of a snooze than it already is.
  7. The film is intelligent, well crafted and often funny, but it may not sufficiently reward even the brief time it asks one to spend with such hideous men.
  8. Too gingerly to be persuasive.
  9. Slick and forceful, largely unconcerned with character, eager for any opportunity to pump up the volume both literally and metaphorically, The Rock is the kind of efficient entertainment that is hard to take pleasure in.
    • 51 Metascore
    • 50 Critic Score
    Uncle Buck has a medium-level Hughes script, only about half as good as "Planes, Trains and Automobiles," about 50 times as good as "The Great Outdoors."
  10. Beyond some well-observed sibling interaction, the mutual effort of four writers is mutually uninspired. Whoever wrote the episodes between hot-to-trot Jojo (Taylor) and her balky boyfriend Bill (D'Onofrio) should be ashamed. [21 Oct 1988]
    • Los Angeles Times
  11. Shallow where it would be meaningful, demanding leaps of faith it has not earned, this film's marriage of arresting technique to empty thinking is not unique, only frustrating.
  12. Ray Ray's belated journey into manhood never feels sentimental or precious. But it also never strikes an emotional tone that's more than blandly agreeable.
  13. Knoxville is surprisingly good playing a man who may have been in one too many barroom brawls, moving with a hunched, hips-forward swagger that suggests someone constantly walking through very low doorways.
  14. For a relentlessly violent and exploitive noir knockoff, Sin City is mystifyingly flat and static - cartoonish, even, if you want to get tautological about it.
  15. Although The Dying Gaul tries to evoke the pathos of Greek tragedy and the stars strive heroically, there's none of the requisite grandeur in this trio of creeps to make it worth caring what happens to them.
    • 55 Metascore
    • 50 Critic Score
    Patton and Benjamin can both hold the screen and are great in their musical sequences, but sorry, they aren't actors -- Terrence Howard, as the villain Trumpy, blows them into dust when he's on camera -- and their limited expressiveness detracts from the film's hallucinatory edge. The plot fails them too, as it takes turns we've seen in a dozen melodramas.
    • 62 Metascore
    • 50 Critic Score
    All of this film's faults are nearly forgiven for the short but memorable scene of sumo wrestlers singing a karaoke version of "Bad Girls."
  16. There's precious little that is fresh or new about the movie.
  17. An admirably ambitious political satire but is stronger on soundtrack narration than on-camera dramatization.
  18. By the time the patented Shyamalan Extra-Strength Third Act Twist is revealed, being asked to care about fate, redemption and forgiveness when a satan-in-an-elevator gimmick hasn't delivered is like getting medicinal aftertaste from what should have been a box of delectably fiery Red Hots.
  19. Though it wasn't planned this way, it's an amusing exercise to view A Man Apart as an allegory for the war in Iraq.
  20. As skilled, resourceful actors, (Argento and Harris) make...a more believable couple than you would have thought possible.
  21. Excellent production values and a decent premise help hold together “Billionaire Ransom,” an otherwise rickety thriller constructed from used parts.
  22. The period details are so lovingly burnished in this uneven, if heartfelt, feature that for a while they threaten to overpower the story, which delves gently into a rarely explored aspect of the war.
  23. The whole package, with its bizarre fondness for slow motion, feels correspondingly sluggish. All the components are here, but A Faster Horse cries out for more dynamic performance.
  24. It's a movie for people who really dig Cronenberg's mulchy fixations-and probably for no one else. [27 Dec 1991]
    • Los Angeles Times
  25. The result is a kind of "Three Ages of Woman, With Plastic Surgery," that veers between insight and hand-wringing.

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