Los Angeles Times' Scores

For 8,691 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 0.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Out of Sight
Lowest review score: 0 Lethal Weapon 4
Score distribution:
8691 movie reviews
  1. Despite its high craft level and Washington's participation in it, this movie's showy violence is finally as deadening as the over-emphatic violence in these kinds of films generally is.
  2. In adapting Dean Koontz's series, Sommers nails the hero but bungles the world-building.
  3. Focuses on what the filmmaker contends is widespread abuse of civil liberties carried out in the wake of the USA Patriot Act and other administration policies.
  4. Lucky Number Slevin is an attempted cinematic sleight-of-hand that has its moments, but is finally just plain annoying, wearing its influences too broadly on its sleeve.
  5. The footage itself, particularly of the surf, is spectacular, with veteran cinematographer Bill Pope handling the camerawork. But the drama is soggy, overreaching for the heartfelt and overdoing the inspirational.
  6. As screenwriter, Billy Ray's adapting the original's Argentina-centric trappings to a tense post-9/11 milieu is smart, but as director his style is hardly atmospheric.
  7. Greenaway's boundary-pushing, breathlessly in-your-face approach begins to take its toll on viewer patience.
  8. If anything, the film is a reflection of the Web zeitgeist, where observation comes easily but insight is rare. What saves the documentary from becoming a complete frustration is the sheer, stunning prescience of Harris.
  9. Breck Eisner, son of former Disney mogul Michael and something of a protégé of Steven Spielberg, for whom he directed an episode of the miniseries "Taken," guides Sahara's big action set pieces with assurance, but would have been better served by a tighter script.
  10. Transiently entertaining, with intermittent sparks, it'll do until something better comes along.
  11. While endearingly heartfelt and G-rated to boot, its storytelling suffers from a lack of locomotive force and characters that feel disappointingly two-dimensional.
  12. By turns warmly sentimental, serial-killer sinister and science-fiction fantastical, The Lovely Bones was an unlikely book to achieve worldwide success. In the film version, those mismatched elements come back to haunt the story, so to speak, making the final product more hit-and-miss than unblemished triumph.
  13. Approaching the film with, let's say, lowered expectations may go a long way toward appreciating what it attempts, as well as what it achieves.
  14. Instantly forgettable.
  15. Sadly the film is so elusive, so distant, that it never seems more than half-alive.
  16. Director Les Mayfield ("Miracle on 34th Street") has his moments, of course, but what ultimately was needed in the case of Flubber was a movie with more bounce and less talk.
  17. To watch the film is to marvel at the cast's virtuosity at fleshing out the shallowest people in England, and the observable intelligence and talent of all those involved doesn't make Separate Lies any more compelling, or its characters more resonant.
  18. An ambitious film that aims to examine the human equations behind the abductions. But for all its good intentions, it's not as subtle as it might be, and it's finally pitched too broadly to achieve the level of emotional truth it aims for.
  19. By allowing Cameron's first-person account to take command of the narrative, though, the film seems to gloss over meaningful logistics of the expedition.
    • 26 Metascore
    • 50 Critic Score
    Dracula 2000 is at heart a solidly old-fashioned cloak-and-fangs vampire flick. It honors the central traditions of the form a lot more often than it skewers them.
  20. Flat jokes, uneven performances, and a predictable romance help make Bounty Killer a lot less fun than it should be — a killer shame, given its boldly gonzo premise.
  21. In the end, Prieto's Pusher feels like a Guy Ritchie knockoff.
  22. The only thing that won't make you laugh, unless you've got a 12-year-old's sense of humor, is the film's tireless parade of gross-out gags and scatological verbal jests. Myers gets a charge out of this material--it wouldn't be here if he didn't--but so much of it is so tedious it's difficult to believe an adult actually sat down and wrote it.
  23. Wyatt, Monahan and Wahlberg never seem quite settled on what they want to say with the character or the story, so the film feels marked not by ambiguity but uncertainty.
  24. The singer-actress' saucy, glamorously wry performance makes up for some of the film's inherent predictability.
  25. Tension is one of Home's biggest issues. There just isn't nearly enough of it. Story is another.
  26. It's regrettable that Woman in Gold is no more than adequate, more old-fashioned Hollywoodization than incisive modern dramatization.
  27. Stars Aubrey Plaza and Dane DeHaan are game, as is the lineup of mostly wasted supporting actors. But what might have been a snappy short is interminable at feature length, the mayhem-in-suburbia conceit generating few laughs as it stomps along.
  28. An uneven coming-of-age comedy.
  29. Director Johanna Demetrakas has decided to simply present the man in all his demanding complexities and let him and his encounters with associates speak for themselves. Her only rubric is the one visible in her title: "Crazy Wisdom."

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