Los Angeles Times' Scores

For 7,882 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: 61
Highest review score: 100 The Cruise
Lowest review score: 0 Chaos
Score distribution:
7,882 movie reviews
  1. Listless, disjointed and disconnected, this meandering two-hour, 32-minute exercise in futility will fascinate no one who doesn't have a blood relation among the cast or crew.
  2. Bram, who also narrates (and writes, with co-director Judah Lazarus and Adam Zucker), may be earnest in his desire for enlightenment. But his approach feels overly self-serving; too much "Me," not enough "Kabbalah."
  3. Lazy, smugly self-satisfied movie.
  4. Peter and Vandy has the decided disadvantage of arriving a couple of months after the similarly structured "(500) Days of Summer," a movie sporting a sunnier sheen, more appealing cast and an actual reason to care about the outcome.
    • 32 Metascore
    • 40 Critic Score
    The specificity of Glory's setting and the ethnicity of its characters enrich the story without moving it one iota away from a mainstream frame of reference.
    • 62 Metascore
    • 40 Critic Score
    What the new movie lacks in craft, suspense and metaphoric richness it makes up for with, um, gadgets.
  5. The scenes of servicemen feel somehow false, a screenwriter's idea of military life rather than the real thing. Myrick does an admirable job of spinning tension from a group of guys mostly standing around, but too often the film's portentous tone seems more silly than suspenseful.
  6. Sjogren's promising set-up, designed to unfold with understatement, ends up feeling remote and repressed when Sjogren miscalculates by burying her characters' emotions too far down.
  7. Abduction is just the third movie John Singleton has directed in the past decade, and it contains neither the passion nor the competence of his two previous genre efforts - "2 Fast 2 Furious" and "Four Brothers."
    • 31 Metascore
    • 40 Critic Score
    Kramer shows zero feeling for the nuances of a midlife sexual awakening.
  8. A tiresome addiction drama.
  9. Not out-and-out terrible enough to be completely dismissed, while also not particularly memorable either, perhaps the truest summation of the film is to say simply that the new Teenage Mutant Ninja Turtles is a movie that exists.
  10. "Them" is spun from callow romantic notions, the sort that make for heady moments. What's conspicuously missing is any grasp of the lovers themselves.
  11. A concept, no matter how promising, is not a movie, and this picture has the bad luck to illustrate the difference.
  12. The film's single saving grace is Turner, who channels that legendary Catholic guilt like there is no tomorrow.
  13. Weirdly clueless.
  14. These guys have dumbed down a comic book.
  15. ATM
    Screenwriter Chris Sparling worked in confined spaces to far better effect before with the minimalist Ryan Reynolds thriller "Buried." He must have used his best ideas there.
  16. Writer-director John Chuldenko stretches a sitcom episode premise to feature-length breaking point in Nesting.
  17. Airbender, whether intentionally or not, is pegged almost exclusively to a small-fry state of mind.
  18. 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.
  19. Unengaging and uninspired and that leaves far too much unexplored.
  20. If they had to make things up, couldn't they have made up something smarter?
  21. Like Freeway, the lovable stray dog at the center of this very teary comedy, Darling Companion has lost its way. Even the marquee ensemble anchored by Diane Keaton, Dianne Wiest, Kevin Kline and Richard Jenkins is not enough to rescue this motley mutt of a movie.
  22. After scoring big in 1998 with "Mary" - the zipper issue, the "hair gel" mix-up, the roving troubadours - their (Farrelly brothers) raw inventive edge has never been quite as sharp. Hall Pass, starring Owen Wilson and Jason Sudeikis, continues that creative slide into everyday crude.
  23. There's an underlying emptiness to Human Traffic and it's difficult to say for sure whether Kerrigan fully acknowledges it.
  24. Any sort of new insight into comedy's darker themes, to say nothing of life's, eludes Funny People. Instead Sandler and Rogen and the rest are left to wander aimlessly, with tedious comedy gigs, an even more tedious faux sitcom and relatively vapid relationships masquerading as a plot.
  25. 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.
  26. A handsome, intelligent film of rigorous austerity; unfortunately, for all its seriousness of purpose and fine performances, it's also a boring film about boring people.
    • tbd Metascore
    • 40 Critic Score
    Because Emory doesn't grapple fully with the issues that loom over the film, there is something soppy and soft-headed about Inlaws & Outlaws.

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