Los Angeles Times' Scores

For 8,254 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 0.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Listen to Me Marlon
Lowest review score: 0 Saw VI
Score distribution:
8,254 movie reviews
  1. How did something that started out so cool get so dorky?
  2. Hitler had his Leni Riefenstahl, and now Castro has his Bravo...Bravo is no Riefenstahl when it comes to persuasive mythologizing.
  3. The movie, with all its brashness and crassness, can still claim noble motives in encouraging insecure young people to seek the pop diva buried deep within.
  4. On the upside, newcomer Summer Bishil turns in a gutsy, quietly riveting performance as Jasira.
  5. Sheridan seems as conflicted as the Cahills about their virtues and failings. The underlying themes -- love, loyalty, decency, duty, honor, betrayal -- that screenwriter David Benioff will use to both bind and break this family seem to bedevil him more than inspire him this time out.
  6. Even though this is supposed to be a kindlier Van Damme vehicle, his movies couldn't exist without his trademark ability to deliver the kind of accurate, powerful kicks any World Cup team would envy. All his soulful glances notwithstanding, Timecop still depends too much on violence to make it appealing to the uninitiated or the unwary.
  7. The film is driven by a we-are-the-world connectedness, but remains a travelogue in search of a defining center. The overall impression is as fleeting as much of the imagery that flashes across the screen.
  8. As saccharine as it is disposable.
  9. Overwritten and under-directed by Maurice Jamal, the movie contains several honest moments but remains too awash in clich├ęs and stereotypes to take seriously.
  10. A more impartial filmmaker might have understood the need for other voices to balance against all that attitude, might have understood how hungry the film makes us for even a single non-adulatory moment.
  11. The film is too reverently drawn and self-consciously played to muster any real momentum.
  12. Ultimately a sweet movie, but one made by people who can't stoop to conquer without an almost audible strain on their own intelligence.
  13. It all makes for a family therapist's dream scenario, but an otherwise choppy and predictable memory piece.
  14. It's a compelling and ambitious idea, but one that misfires because of its underwhelming characters and slack storytelling.
  15. Along with the performances, there is a languid truthfulness in some of the dialogue that keeps Seeing Other People from being one of those completely forgettable indie romances that play in perpetuity on cable.
  16. The overwrought plot mechanics are exasperating, but the lead actresses' exquisitely modulated performances get under the skin.
  17. As good as the leads and the supporting cast are, and as much action as gets packed into the film's relatively brief running time, none of it draws us in dramatically.
    • 54 Metascore
    • 50 Critic Score
    Ends the series' winning streak, or at least slows it down to a panting, dog-day crawl.
  18. Breathtaking moments give way to boring ones; searing emotions vie with the exceedingly bland.
  19. This is Shakespeare lite, which ultimately makes for Shakespeare slightly trite.
  20. Raucously energetic and replete with a barrage of graphic sexual humor.
  21. Manages to sustain a sweet, funny groove for, say, 65 of its 85 minutes.
  22. One Direction: This Is Us is not the raw confessional that title might imply but rather both a primer and new product presentation.
  23. Russell Crowe is invariably involving on screen, and Ridley Scott is a splendid director when the material is right. No film they collaborate on will be devoid of interest, but A Good Year almost is.
  24. If you're in the mood for a hip-hop film with more happy faces than "The Partridge Family," Honey will divert you.
  25. Winterbottom, who's never been a director with a gift for warmth, can't make this romance come alive. Morton and Robbins are gifted actors, but they seem straitjacketed here, and the film finds it difficult to avoid tedium as their lugubrious relationship unfolds.
  26. For the most part, this is the kind of immersive fanboy experience that doesn't suffer wandering attention spans.
  27. Without Davidson Stargate might seem clunky and routine, but he gives it a weirdo charge. It may be a lousy movie, but it's a more enjoyably lousy movie than most.
  28. A practiced piece of Hollywood hokum, way too calculated and contrived, especially for a film that nominally celebrates the chaos and creativity of the 1960s.
  29. A nutty, often enjoyable farrago of craft and cinematic sampling, King Arthur moves fast and loose, and is almost aggressive in its absence of an original idea, in and of itself a Bruckheimer trademark.

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