Los Angeles Times' Scores

For 8,560 reviews, this publication has graded:
  • 58% higher than the average critic
  • 4% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Mud
Lowest review score: 0 Boxing Helena
Score distribution:
8,560 movie reviews
  1. All in all, Call + Response makes alarmingly clear how ugly, pervasive and out-in-the-open the trade in humans for sex or labor often is.
  2. Closer in texture and consistency to individually wrapped American cheese than good, tangy English cheddar. But even humble plastic-wrapped cheese has its virtues and so does this film.
  3. In Tetro, nearly every time Coppola should have clung to intimacy, he opts for excess. Especially tedious are the meta excerpts from staged productions -- overcompensation trying to masquerade as illumination. Regrettable since there is such fine work being done in the smaller moments.
  4. For the future, the Saint is such an unpleasant and predatory manipulator, it's difficult to root for romance. And when Kilmer's mightily convincing Ice King begins to melt, it's so out of character with what's gone before that its believability is touch and go.
  5. The uncomfortable reality remains that although this movie is effective moment to moment, very little of it lingers in the mind afterward. The ideal vehicle for our age of immediate sensation and instant gratification, it disappears without a trace almost as soon as it's consumed.
  6. Escape Plan is mostly a gray, thudding metal machine of throwback exploitation, but the goateed, goofy Ah-nold is so happy to be in the thick of an old-school bruiser again that he makes it feel like the dumb-fun flashback party it is.
  7. As a whole, the film's characters touchingly illustrate the tolls of living with unresolved trauma and chronic uncertainty, as well as the solidarity and relative freedom this community of outcasts enjoys.
  8. As long as it shuts up and keeps moving, Tracers makes for a sufficiently diverting, not to mention zero-emission, vehicle.
  9. Saw
    Saw is so full of twists it ends up getting snarled. For all of his flashy engineering and inventive torture scenarios, the Jigsaw Killer comes across as an amateur. Hannibal Lecter would have him for lunch.
  10. "Next Chapter" may not exhibit the scrappy charm that characterized the first film's glimpse into a marginalized but colorful world, but for devotees, Dana Brown has assembled a love letter to a now-global culture.
  11. Zea gives a natural performance amid a neighborhood of painful stereotypes (including a nosy Asian shopkeeper), but she doesn't adjust her cadence, let alone accent, for the historical flashbacks, bringing a modern sensibility that limits the effectiveness of these scenes.
  12. Not Brooks' funniest film, but it possesses his trademark wry humor and is slyly observant.
  13. The ending, which unnecessarily veers toward lumpy, overwrought melodrama, undoes the scrappy elegance the film previously displays in fits and starts.
  14. A potent and unexpected mixture of authenticity and flash -- even if this is what happened on the ground, making it worth our time on screen is just beyond the contortionist abilities of even this most acrobatic of films.
  15. For all of its punishing pathos, the movie does not have the clean lines and elegance of another cut at crime in this city, "L.A. Confidential" (based on an Ellroy novel). As the day of reckoning approaches, the film spins out of control, careening between convoluted subplots, with the emotional pitch of the piece swinging too wildly.
  16. Though Iron Man is diverting enough in the comic-book-movie mode, there is one thing it doesn't have, and that is dramatic unity. Unlike the irreducible element that is its namesake, Iron Man the movie is an alloy, a combination of several different and disconnected components that don't manage to unite to make a coherent whole.
  17. Though it would be dishonest to call this an unqualified success, it would be churlish not to tip the hat to Love Actually's genuine charm.
  18. What saves the film is that it is also packed to the gills with the classic slapstick sweetness that makes SpongeBob — in or out of water, on big screen or small — hard not to laugh at and love at least a little. Giggle, giggle.
  19. Hyams the director ("Sudden Death," "Timecop," "The Star Chamber") operates at too much of a fevered pitch for things not to eventually get out of hand -- accelerating violence and horror eventually hit maximum velocity and warp into nonsense, no matter how erudite the script.
  20. Momoa creates an involving if relaxed pace, one whose moody rhythms are infused with a kind of soulful spirituality.
  21. A better-than-most fright-time tale.
  22. The blurring of fact and fiction has been a part of the Amityville saga since it became public, but for Lutz there's no gray area in his memories, whose power is undiminished.
  23. I don't know that we actually need Agent OSS 117, but the world is a slightly better place with him around. And the film itself is a harmless trifle -- make that truffle, chocolate of course.
  24. Despite involved acting and Nichols' impeccable professionalism as a director, the end result is, to quote one of the characters, "a bunch of sad strangers photographed beautifully."
  25. His runners' successes speak volumes, but the film never ventures outside of his inner circle to gain more perspective.
  26. What is missing is something new - clarity, insight, outrage. Instead, its understatement is ultimately its undoing.
  27. The mix of computer-generated imagery, hand-drawn simplicity in the humans and depth-conscious, textured backgrounds makes for a potent visual intelligence.
  28. At a mere 75 minutes, this often amusing, uniformly well-acted movie had the leeway to more fully explore both the script's showbiz gambit and its romantic roundelay.
  29. Felicity Huffman is such a wonder, at once funny and brave, playing a pre-op male-to-female transsexual in the uneven comedy Transamerica that she sustains several lapses that might otherwise have sunk it.
  30. If anything, watching the film is like attending an old-style Southern tent revival - you want to believe in the fight against all that fire and brimstone. Heck, you want to join the righteous brigade. But when the lights go up and the fever dies down, it feels more like you've witnessed a show than a real showdown with the devil.

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