Los Angeles Times' Scores

For 7,390 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 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Dances with Wolves
Lowest review score: 0 21 and Over
Score distribution:
7,390 movie reviews
  1. It lapses into that familiar category of movies that go in for lots of fancy obfuscation along the way only to make its story seem all the more simple, trite and contrived by the finish.
  2. Ultimately it's the characters who are the joke -- too thin, too vacuous, too unlikable for us to care what happens in the next 30 minutes, much less for the rest of their lives. Too bad, really, because the truth is Gervais is a very funny guy. The ugly truth is that The Invention of Lying isn't -- funny, that is.
  3. It has its successful moments but it's surprisingly inert overall, more like a Burton derivative than something he actually did himself.
  4. The film's greatest sin isn't its cynical moral posturing but its complete failure to engage audiences on even a visceral level.
  5. It's revealing that writer-director Dave Boyle has said that in a way he fulfilled his lifelong ambition to be a cartoonist with the live-action White on Rice because his people in this wan, trite and increasingly silly comedy are little more than stick figures.
  6. 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.
  7. Elephants aside, the plot of this Ong Bak is rudimentary at best.
  8. Here's the surprise of the new incarnation of The Wolfman, starring Benicio Del Toro -- there isn't one. No bite either, or humor, or camp.
  9. Despite its obsession with décolletage, Bitch Slap is surprisingly puritanical (much teasing, no pleasing), substituting plentiful violence and a howlingly predictable "shock" ending for the payoff it promises.
  10. The prospect that this role would officially shift Bettany to a bigger stage, taking him from the character roles that have become his specialty to leading man status, dies a sort of Darwinian death from bad plotting.
  11. The presence of the ever-reliable Steve Buscemi adds a welcome boost to Saint John of Las Vegas, an otherwise unremarkable debut feature from writer-director Hue Rhodes.
  12. It's difficult to get into its "What would I do?" vibe, though, through so thick and transparent a barrier of contrivances.
  13. This is generic filmmaking at its most banal, a simple-minded simplification of a not overwhelmingly complex book.
  14. The material gets away from him (Stuart) quickly, leaving emotionally forced, clunky filmmaking that feels simultaneously rushed and dawdling, like a chopped-down TV miniseries. (It even has natural commercial breaks.)
  15. Try as they might, Nicole and Milo, as they are called in the movie, don't steam. Wispy vapors is about as good as it gets.
  16. Instead of invitations, they should be sending out apologies for Our Family Wedding, a cake-and-kisses comedy that has disaster written all over it and not for the right reasons.
  17. There's a key organ missing from the movie itself: a brain. In its place is a memory bank of other, better movies.
  18. One of those maudlin romantic melodramas you just can't warn folks off.
  19. Good slapstick is actually an art -- unfortunately not one practiced here -- and bad slapstick is just tedious.
  20. A romantic drama with some good qualities -- among them earnestness and strong performances -- but not enough to completely overcome the strain of its clichés.
  21. The satire is sagging, the irony's atrophied and the funny is flabby.
  22. Rather than some deeper understanding of the human condition, what we get from Multiple Sarcasms is a lot of heavy breathing.
  23. An underwhelming experience. I pity the fool, as TV star Mr. T might say, who mistakes this for genuine entertainment.
  24. The number of clearly talented individuals who committed themselves to the folly of The Living Wake were fearless too.
  25. The new Adam Sandler comedy has all the charm of a home movie that does not star your own family, which means it's overly sentimental, filled with you-had-to-be-there moments, bad jokes and even worse camera angles.
  26. Aims for something trenchant about thwarted destiny and ugly ambition in modern Indian democracy but mostly winds up with a convoluted and tonally awkward "Godfather" rehash, with nary a character worth rooting for.
  27. Airbender, whether intentionally or not, is pegged almost exclusively to a small-fry state of mind.
  28. Against all reason and expectation, the result is a distinctly unfunny film.
  29. For now, Efron remains an unrealized dream and Charlie St. Cloud an unrealized movie, though judging from the "ooohhs" and "awwwws" from the audience, for his core tween-girl fans, that's more than enough.
  30. With the patiently assembled '90s films "Ruby in Paradise" and "Ulee's Gold," director Victor Nuñez gave independent film a quiet luster of hand-craftsmanship sorely lacking in his dreary new effort, Spoken Word.

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