Los Angeles Times' Scores

For 7,705 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: 62
Highest review score: 100 The Four Times (Le Quattro Volte)
Lowest review score: 0 Being Human
Score distribution:
7,705 movie reviews
  1. The Crossing Guard, Penn's second film behind the camera, is a troubling, troublesome movie whose makeshift structure cannot contain the powerful flood of passions that he and his cast have poured into it.
  2. Blackmail Boy reaches for tragedy but settles for soap opera.
  3. This is a standard-issue gross Hollywood knockabout comedy in which slapstick antics have been piled up with a steam shovel and driven home with a sledgehammer. Reynolds and Smart are game and even dimensional, but all others are stuck playing tiresome, obnoxious characters.
  4. Synthetic, strained and noisy, Yours, Mine & Ours is a clinker that doesn't bear comparison with the original. Quaid, Russo and others deserve better.
  5. Whereas the original film is gleefully crass and energetically paced, the movie musical, weighing in at a robust two-plus hours, is bloated and self-satisfied. Whatever spectacle the stage musical possessed to make it such a box-office behemoth fails to transfer to the screen.
  6. Lame and overly contrived comedy.
  7. An initially promising horror film that turns exploitive, Wolf Creek fails to deliver the requisite payoff considering its leisurely pace.
  8. The resulting film is a muddled, melodramatic, sort-of remake of "The Graduate."
  9. The only thing left unsliced is the ham in BloodRayne, yet another video game adaptation by German genre specialist Uwe Boll and a movie with more fading - or faded - talent than an Italian basketball team.
  10. Make no mistake, the high-flying stunts in director Renny Harlin's film are definitely state of the art, and while they're going on, the film works up a serious level of excitement. But as soon as the action stops and the inevitable talking begins, Cliffhanger falls to earth with a considerable thud. [28 May 1993 Pg. F1]
    • Los Angeles Times
  11. Franco is a refreshingly offbeat screen presence and in lighter moments boasts an appealing smile. He may be someone to watch, but too bad there's little room for emotional spontaneity - acting, in other words - in a rote Hollywood drill such as this.
  12. This isn't your father's cross-dressing. At the same time, the science of comedy attains a new level of appreciation, since hardly anything about this sluggish sequel to the 2000 box office hit comes close to being funny.
    • 46 Metascore
    • 40 Critic Score
    Trier gets lost in his own rhetoric, forgetting to entertain his flock while raking them over the coals.
  13. The campier aspects of the film are not enough to make up for its lapses into melodrama and just plain silliness.
  14. The Wayne's World concept, which, egged on by a rabid studio audience, works so beautifully in skit format, ends up feeling dragged out and energy-less at feature length. [14 Feb 1992 Pg. F1]
    • Los Angeles Times
  15. Anyone who has seen the trailers for Freedomland, which don't exactly skimp on maternal angst, already knows this is going to be a sad-mommy story. What we don't know is that it may be a bad-mommy story as well.
  16. Reunion is an awkward compound of paradoxical tones and ideas... But one shouldn't underestimate Perry's ability to make such contradictions work and get away with the most wretched excess.
  17. To her credit, Jovovich carries out her action-hero duties with swagger and conviction that never get out of control. Clearly, she's expecting a franchise out of this.
  18. Despite a fine cast, the film feels as lost as Howard, unsure of its direction or tone.
  19. Stay Alive spends a lot of time inside the video game system, and what will terrify the audience very early on is the realization that there's better acting in the video game than on the big screen.
  20. The film is haphazardly structured, undercutting its potential power.
  21. A fictional look at film school life, realized in that archetypal film school style. If it were being workshopped in a seminar, some criticisms might include: awkward mise-en-scène, stock characters - and did you actually repeat that reaction within 10 seconds of first using it?
  22. Fans of the band will likely be disappointed (its music is represented by a handful of covers), and younger audiences will wonder what the fuss is about.
  23. From the beginning to its very end, The Benchwarmers seems to be struggling to justify its own existence.
  24. A self-consciously zany dysfunctional family comedy, When Do We Eat? strains so hard to be outrageous that it sacrifices characters for caricatures. They might have had something if they'd let everybody relax, be themselves and enjoy dinner.
  25. Director Tony Vitale, best know for "Kiss Me Guido," gamely tries to keep pace with Cupo's erratic storytelling and struggles to convey the inner life of Cupo's character.
  26. Maddeningly exploitative, the film takes a provocative subject -- pedophilia -- and wraps it in a sterile, vacuum-sealed package, devoid of meaning.
    • 54 Metascore
    • 40 Critic Score
    Possibilities ends up as a testament to only one thing: a missed opportunity to explore one of the most visionary and influential careers in modern music.
  27. A pompous, overwrought and itchingly claustrophobic psychodrama.
  28. Shot in just 24 days, the film staggers under the weight of stale gags and a meandering plot.

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