Los Angeles Times' Scores

For 7,510 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Reversal of Fortune
Lowest review score: 0 21 and Over
Score distribution:
7,510 movie reviews
  1. For all of its class-act bona fides, Evening lurches between the morose and the sentimental, with occasional incursions into the absurd.
    • 53 Metascore
    • 40 Critic Score
    It's not vivid or harrowing enough to command attention. Worse, at a mere 76 minutes, the movie skips past what seems like lots of crucial exposition in favor of vague flashbacks and confusing inserts. The awkward documentary-style interviews don't help.
  2. Transformers' multiple earthling story lines are tedious and oddly lifeless, doing little besides marking time until those big toys fill the screen.
  3. Fails to deliver on its main promise of big laughs, which is the film's truly unforgivable sin.
  4. David Wain, director of "Wet Hot American Summer," brings his popular brand of surrealist yet mundane humor to the big screen with more or less dreadful results.
  5. The movie feels stubbornly, resolutely disingenuous and one-dimensional. Everything in it isdesigned to make you feel better, so why does it feel artificial and palliative in that really depressing way?
  6. There's a lot that remains unclear about the powers and abilities of the creatures in Skinwalkers, largely robbing the film of tension as events transpire in a slapdash, haphazard manner.
  7. It's neither very original nor very convincing. "Shakespeare in Love" did something similar by casting its writer protagonist as the hero of a story he himself might have written, but Becoming Jane lacks that movie's wit and playfulness.
  8. The bones of something more interesting are there -- how people come to mentally and emotionally define themselves and the ways in which they often need to realign those beliefs -- but Yeung can never reconcile his impulses toward humor and human conflict, so things tend to sputter about, feeling disconnected and episodic.
  9. As Ruscio piles it on, he gets himself further and further away from any sense of genuine emotional truth.
    • 57 Metascore
    • 40 Critic Score
    A dumb twist can be excused, however, if your characters keep the thing afloat, which makes perhaps the most unforgivable sin of this claustrophobic terror scenario the fact that we have to spend it with arguably the two least interesting people in Los Angeles.
  10. Moody, mannered and supremely irritating, Christophe Honoré's Dans Paris plays like a pastiche of French cinema clichés through the ages.
  11. Even after appropriately lowering expectations, it's kind to call this one a cut below.
  12. Black comedy becomes funnier as the action becomes darker and more perilous, but The Hunting Party fails to locate the absurdity in the central situations and goes for midget jokes instead. In the end, you're not sure if you're supposed to be watching "The Three Amigos" or "Hotel Rwanda."
  13. There are enough reasons to avoid this oh-so-wacky comedy as it meanders from piney Georgia to Port Arthur, Texas, to Monument Valley, Utah, and they include Gourley's sense of direction.
  14. Trapped in a no man's land between seriousness and pulp trash, it plays like a combination of "Death Wish" and "The Hours." If that sounds like an awkward fit, it is.
  15. Sydney White is a carnival of ethnic and social stereotypes that are rising up against the lily-white status quo. In Hollywood, blond princesses and fairy tales die hard.
    • 46 Metascore
    • 40 Critic Score
    Only intermittently funny at best, but mostly full of dead air, the film is a let-down on both fronts.
  16. Dreary, spectacle-driven adaptation.
  17. The movie thus moves from truly creepy to truly inane, which is, unfortunately, all too common in films of this ilk.
  18. You'll be goaded throughout The Comebacks to think of "Bend It Like Beckham," "Remember the Titans," "Rudy," "Hoosiers," "Field of Dreams" and their ilk. What you also think about is how much this stuff worked better in "Airplane!" or "Blazing Saddles."
  19. Neither involving as a study in grief nor compelling as a thriller about conscience, the cat-and-mouse tragedy Reservation Road is a misery windup so schematic and obvious it reduces its crisis-stricken characters to little more than emotional bumper cars.
  20. Gives new meaning to "costume drama" in that it is a drama primarily about costumes. But the drama is about as subtle as a sledgehammer to the temple.
  21. Redford and Carnahan would like us to ponder our role in their fate. And maybe we would, if the lecture weren't so dull and self-satisfied.
  22. Beowulf appears so cartoony, in fact, that the academy just put it on the short list of films to be considered for the Oscar in feature animation.
  23. Trashily in-your-face thriller, which leans heavily for its effects on intense sympathy pain, improbable reversals and the mystifying star appeal of Jessica Alba.
  24. Elegy seems determined to make real every ageist dig that could be thrown its way -- out of touch, balefully slow and, for a film at least partly about the zesty enterprise of sex, awfully lifeless.
  25. Aliens vs. Predator -- Requiem simply exists, nodding to the continuity of the larger series and opening the door for, yes, another entry in the franchise. In Hollywood as in outer space, spawn begets spawn.
  26. Overall, Charlie Wilson's War is glib rather than witty, one of those films that comes off as being more pleased with itself than it has a right to be. It also suffers from being not all of a piece, with mismatched elements struggling to cohere.
  27. CJ7
    As clumsy and awkward as his previous films were stylishly silly.

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