Los Angeles Times' Scores

For 9,750 reviews, this publication has graded:
  • 57% higher than the average critic
  • 5% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Hedwig and the Angry Inch
Lowest review score: 0 Saw VI
Score distribution:
9750 movie reviews
  1. A movie we might like to buy into if left to our own devices, but that idea is anathema to Turteltaub, intent on pushing us so hard that we end up pushing back.
  2. What results is a film with some bright spots but whose effect is finally as muddled and wearying as the event itself sometimes is.
  3. Unfortunately, this improvised film (Guest’s actors work off a detailed outline) contains the occasional titter but few guffaws.
  4. The setting abounds in beauty, and the storytelling abounds in obvious cues that mute the intended suspense, if not the horror.
  5. God-natured comedy.
  6. Harron has said she was determined to be nonjudgmental about Page, to do justice to the woman's "mystery and ambiguity." In practice, however, that attitude plays as coldness, and Page, for all her remarkable zest, comes off as a not terribly interesting person we're given no incentive to become involved with.
  7. In truth, the film fizzles as much as it fumes.
  8. There might have been a better, more involving method of telling Hoffman's story, but it is expressed with a firm sense of commitment to accuracy and authenticity.
  9. A feature-length lampoon needs more than rubbery performances, so-so silliness and the constant thrum of meta humor to make it a consistently amusing variation on a theme.
  10. The road to the inevitable slapsticky Seder is paved with more sweetness than bite, a good deal of frantic foolishness and progressively thinner laughs, all wrapped in a message of acceptance and inclusiveness.
  11. The film aims to be a gentle comedy (there are even some songs approaching musical numbers) with serious undercurrents. It stumbles most when reaching for its bigger themes.
  12. Po
    The film over-relies on blunt messaging, one-note villains (bullies, bosses, administrators, worst mall cop ever) and several stacked-deck situations to align us with David and Po, even if we’re inherently on their side from the start.
  13. It's an affectionate and admiring collection of moments, but the director's wobbly choreography never locates a dramatic core for this corps' story.
  14. LUV
    What begins as a promising peek into the tragic cycle of waylaid promise that's crippling broken inner-city families is itself dispiritingly pulled sideways in the Baltimore-set indie LUV.
  15. An elegantly told tale of obsession that, in failing to take on any larger meaning, rapidly becomes depressing to watch.
  16. There are some inspired off-the-wall moments, but they are more than offset by a pervasive aura of tedium and the lack of any sense of the forward momentum necessary to sustain an adventure of this kind.
  17. A small picture of many satisfactions.
  18. Its heart is so much in the right place it is difficult to get really peeved at it.
  19. Not as bad as it sounds nor as good as it might have been.
  20. If bare-knuckle fights are what you seek, director Ekachai Uekrongtham certainly delivers. But the film scarcely scratches the surface of the horrors of human trafficking.
  21. It's good that God's Sanbox has such an intriguing premise and compelling performances, because Doran Eran's pacing tends toward slackness, and most of the dialogue is in an English that is often impenetrable.
  22. Despite the visual and cultural accuracy, Ping Pong Summer is missing an elemental magic and vibrancy; a kick factor that makes the picture's endless pop throwbacks (break dancing, cassette tapes, giant boom boxes) seem more tackily forgettable than sweetly nostalgic.
  23. As it is, Mrs. Palfrey seems to suggest the Claremont is located somewhere in the Twilight Zone. Where are the televisions? Where are the chain stores? Where are the immigrants? I see the buildings, but where is England?
  24. There's something plodding and uncomfortably strident about Little Animals that keeps the audience from sharing, much less understanding, Bobby's enchantment.
  25. A rare case in which one can't help but wish the film were somehow worse than it is, for it would then be easier to dismiss outright. Jon Voight's turn as a fictional local Mormon leader and, in particular, Terence Stamp's performance as Brigham Young have a strange, unnerving conviction about them, and give the film an oddly engaging pull.
  26. A disposable sports drama.
  27. The accompanying trove of archival footage and photos, however, helps break the occasional monotony; the juxtaposition of these elderly vets with snapshots of their 1940s-era, uniformed selves is always affecting.
  28. The film is well intentioned and mildly diverting, but in attempting to modernize its story it has lost many of the things that make the original so memorable and not gained much in return.
  29. Unfortunately, absent a more objective context, Trudell's gnomic utterances do little to support those sentiments. By preaching so relentlessly to the choir, this film misses an opportunity to show what got them to sing in the first place.
  30. Being a "family film" may excuse many faults, considering the intended audience, but it's hard to think of a recent movie that has more determinedly married the engaging with the banal.

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