Los Angeles Times' Scores

For 8,560 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 0.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 The Hurt Locker
Lowest review score: 0 Fair Game
Score distribution:
8,560 movie reviews
  1. A trifling historical fantasy, gossip wrapped in gossamer, beautiful to watch but it takes only a light wind to leave the story in tatters.
  2. Beautifully envisioned, badly constructed, the only truly terrifying things in the new horror movie Mama are the fake tattoos, short black hair and black T-shirts meant to turn "Zero Dark Thirty" star Jessica Chastain into a guitar-shredding, punk rocker chick.
  3. Thanks for Sharing is a bit like the recovery scene it digs into — filled with intoxicating highs and dispiriting lows.
  4. The longer it goes, the more frustrating it becomes, as Bar Lev declines to come down on one side or the other.
  5. What it really is is an unapologetic cartoon, a harum-scarum endeavor that's so comically frantic it wears you out as much as it entertains.
  6. Family Weekend is no worse than many of the dysfunctional family comedies that populate the Sundance Film Festival — "Little Miss Sunshine" is name-checked within the movie itself — but isn't any better either.
  7. The proceedings can seem less like a fresh retelling of a seminal story and more like, despite stabs at grit and terror, a theatricalized, dewy-eyed version of days past.
  8. A nod to Fellini--and that "half" turns out to be a typically dark Greenaway twist. Yet this film, one of Greenaway's most amusing and accessible, actually arrives at moments of tenderness, even love, fleeting though they may be.
  9. Biyi Bandele's adaptation of Adichie's novel of loyalty and betrayal set against the turbulence of the 1960s Biafran war, certainly makes for an honorably propulsive wartime soap. It's just not stirring enough as historical drama.
  10. Statham's broody charisma and veteran cinematographer Chris Menges' ("The Killing Fields") eclectic views of contemporary London help hold interest, even as we ponder what Knight is really trying to say.
  11. A standard-issue Hollywood family film about a boy and his dog growing up in a Southern small town during World War II.
  12. Though Reign of Fire's concept of a humans-versus-dragons smackdown is a good one, the way it's worked out on screen is more silly than compelling.
  13. Turns out to be a film that's interesting in spite of itself. It's less an impartial investigation than an advocacy film, having been hijacked by the members of the "inner sanctum."
  14. The film's long suit is the chemistry between the leads: Julian Adams, if occasionally stiff, has a strong, sometimes Matthew McConaughey-like presence; newcomer Gwendolyn Edwards shows spark as the beautiful Eveline.
  15. Far too conventional underneath all the trappings, you wish it would howl.
  16. The overall effect here is of parallel biographies juiced to feel important whenever they intersect, and an undercooked paean to lost masculinity.
  17. The four individuals' narratives are not always that compelling and make for a film best experienced on a strictly sensory level. Let the images wash over you and enjoy.
  18. A warm and pleasant romantic fantasy that shows BenGazzara and Rita Moreno to advantage but is better suited to the tube or the stage.
  19. +1
    In trying to say everything, Plus One reveals it doesn't have much to say at all.
  20. The film's underlying concept is so irredeemably screwy and far-fetched that no amount of fine work can hope to make it convincing.
  21. A stylish, serviceable recounting of Saint Laurent's life from the late 1950s through the '70s. But watchable as it may be, this drama lacks intimacy and urgency.
  22. So unashamedly confusing, so intent on piling twist upon twist upon twist, it makes your head hurt just trying to figure out what's happened.
  23. There is a guilty-pleasure quality to watching Atkinson at work even when Mr. Bean has overstayed his welcome. The film's lightness makes you wish you were the one headed to the beach.
  24. Not only does it feel like an exclusive party at which there is definitely no room for the uninitiated, its waves of idolization barely leave room for the band itself. Good as they are, They Might Be Giants deserve a better film.
  25. Whatever else Proyas has done in Knowing, he has created an ending that is sure to divide audiences into camps of love it or hate it, deeming its message either hopeful or hopelessly heavy-handed. For me, it doesn't quite work; still I'm glad he took the risk.
  26. If you can get past the gross invasion of privacy issues that would exist if this were real life and not just a frothy confection, what you have is some bittersweet fun peppered by bursts of sharp patter, the best between the boys.
  27. Though there's plenty of movement and enthusiasm, director Susan Seidelman is content with a metronomic approach to manipulating our feelings - buoyant Latin music never felt so routinely scene-setting - and seems afraid to let anyone on-screen depart from established caricature.
  28. A pleasant diversion, a lightly amusing criminal comedy with a plot so complicated even the people in it can't quite believe what's happening.
  29. Like real indie films, garage bands are by definition rough around the edges, but what separates the true believers from the poseurs is their passion, their commitment -- and not just how cool they look on screen or on stage. A mainstream endeavor tricked out as an indie, Garage Days gives us plenty to look at but no reason to care.
  30. As much as we intellectually admire Jarhead, it's a cold film that only sporadically makes the kind of emotional connection it's after.

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