Los Angeles Times' Scores

For 7,700 reviews, this publication has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Unforgiven
Lowest review score: 0 Jewtopia
Score distribution:
7,700 movie reviews
  1. Not quite the sum of its occasionally interesting parts. Most of its cast makes strong impressions, but the plot and motivation don't quite jell, resulting in a minor item that shows its star Troy Garity to good advantage.
  2. John Leguizamo steals the show as its sleazy trainer -- not that there's much to steal from John Schultz's joylessly schematic paycheck.
  3. Isn't a remake, really. It's a "reimagining," which is a sparkly word for what happens to a beloved TV hit of yesteryear when it's cannibalized by committee.
  4. If I were 6, I could enjoy Rebound without thinking about all the better movies made from its concept.
  5. Crass, vacuous exercise in grind-house stylistics.
  6. Forces them (the cast) to reenact the entire unabridged Encyclopedia of Treasured Romantic Comedy Clich├ęs and Chestnuts, Revised Second Edition.
  7. Weighed down with gimmicks and special effects, a number of which are far from special, Sky High is best left to 10- to 14-year-olds because it's not likely to do much for older audiences and is too violent for the very young.
  8. It's too over-the-top, too lurid and at times simply too silly to represent any kind of valid commentary on the repressive '50s or the way in which institutions tend to destroy rather than cure. "Far From Heaven," which nailed '50s angst to perfection, Asylum could not be farther from.
  9. A shaggy dog tale in more ways than one, the campy comedy Wasabi Tuna is the kind of film that can give dumb blonds a bad name.
  10. Ultimately, Supercross is an example of how too much of anything will get annoying -- including VVRRRROOOOOOOMMM and flying bikes.
  11. The whole movie could be clipped by about 95 minutes and it would make a swell little video for Simpson's performance of the title cut from the soundtrack.
  12. Recycling is alive but not well in the outmoded teen comedy Dirty Deeds, with a result that is more toxic than intoxicating.
  13. The young stars are attractive and capable, but Hotel de Love is as synthetic as an old "Love Boat" episode.
  14. But the result is no more than a forced fable, a self-consciously smarty-pants concoction that is too clever by half and too pleased with itself in the bargain.
  15. That this is the first film for director Joe Mantello, who was nominated for a Tony for directing the stage version, may be compounding the problem. But frankly, if someone wanted to do a parody of a gay film like this, it's hard to imagine the sloganeering being much different.
  16. Marcos Siega's direction is well-paced, but writers David T. Wagner and Brent Goldberg haven't brought anything sufficiently fresh or original to a formula plot to allow Underclassman to rise above the level of a mildly diverting video rental.
  17. This logic-challenged dive-bum thriller directed by John Stockwell, who did the equally silly surf movie "Blue Crush."
  18. But it's one thing to write a loving ode to your mother; another to direct an ode to an ode.
  19. Ultimately, it's too self-conscious of its role in the marketplace and too hamstrung by its source material to risk being honest at the expense of being liked.
  20. The filmmaker captures a certain exaggerated verisimilitude, but the comedy is surprisingly flat. The cast sells the occasional one-liner, but a Reynolds smirk can take you only so far.
  21. So over-plotted that it's borderline incomprehensible.
  22. The final twist does more to unravel what's come before than to tie it all together, making what's come before feel like a cosmopolitan goose chase.
  23. Fluffy and mild to the point of somnolence, it can't even get the full benefit of its strongest asset, Glenn Close's performance as the grasping virago Cruella DeVil.
  24. Eraser does have a few big-ticket stunts that hold the attention, but director Charles Russell, fresh from "The Mask," isn't able to infuse them with the intensity and believability that James Cameron brought to comparable sequences in "True Lies."
  25. Without real dialogue and believable connections between actors, Evita is limited in its effectiveness, and all the crying for Argentina in the world can't change that.
  26. Well-meaning and convinced it has something of value to say, its "Reach Out and Touch Someone" sensibility ensures that all its satisfactions will prove hollow, and so they do.
  27. All three look great and the filmmakers deliver a certain artiness, but their overall triviality and the unpleasantness of the first two make for an extremely distasteful experience.
  28. The Crossing Guard, Penn's second film behind the camera, is a troubling, troublesome movie whose makeshift structure cannot contain the powerful flood of passions that he and his cast have poured into it.
  29. Blackmail Boy reaches for tragedy but settles for soap opera.
  30. This is a standard-issue gross Hollywood knockabout comedy in which slapstick antics have been piled up with a steam shovel and driven home with a sledgehammer. Reynolds and Smart are game and even dimensional, but all others are stuck playing tiresome, obnoxious characters.

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