Los Angeles Times' Scores

For 8,105 reviews, this publication has graded:
  • 59% higher than the average critic
  • 4% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 0.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Mad Max Beyond Thunderdome
Lowest review score: 0 Nothing Like the Holidays
Score distribution:
8,105 movie reviews
    • 68 Metascore
    • 50 Critic Score
    Much of its strength resides in the way it eschews narrative contrivance. The movie observes behavior without explaining or judging it.
  1. All three actors turn in solid, committed performances despite physically limiting surroundings, even as you're left with the inescapable feeling that this raft has sailed.
  2. Defiance has some genuine strengths but also some weaker elements, and these opposing traits battle it out kind of the way the contentious Bielskis fought not only the Germans but each other.
  3. Fans, go be with your people. Others, approach cautiously.
  4. This is a disappointing turn coming from Phillips, particularly since "The Hangover" was such a fresh, bracing brew of black comic fun.
  5. Decidedly a minor item that's been on the shelf for a while but is nonetheless an effective calling card for its writer-director-star.
  6. This third installment of the popular series about fast cars and the posturing boys who love them is best viewed as an energetic cartoon, an unintentionally amusing, head-shaking guilty pleasure that will divert those not in the mood for anything more profound than gleaming metal and preening women.
  7. Van Peebles' persona and sensibility remain engaging, as do his way with his beguiling score and songs, but his film desperately needs tightening to eliminate tedious moments, especially in the African sequence.
  8. In Prince Dastan, he (Gyllenhaal) is supposed to be that heady mix of street smarts, roguish charm and barroom moxie with the noble heart of a lion underneath. It's a lot to ask and turns out to be something more than he can deliver.
  9. A new biopic of eccentric British rock legend Ian Dury, Andy Serkis uncoils a performance of spit, grit and wit so ferocious it only serves to starkly clarify how unremarkable and formulaic the rest of the movie is.
  10. While Bruce Almighty does end on a modest "Candide"-like note, the getting there is too strained to be much of a pleasure.
  11. In Ashok's reunion with the love of his life (Mary Steenburgen) — the chance to see her after many years is the true reason for his trip — the film taps into a tender wistfulness, Steenburgen making her character's every glance and hesitation resonate with emotion.
  12. As enervating as it is long -- and at 2 hours and 47 minutes it is quite long -- this version of the F. Scott Fitzgerald fantasy short story is a baffling project, an endurance test of a movie that feels like it was made on a dare.
  13. Had the movie itself been more focused as a story of messy loss — and not played tonal Twister with its high concept — it might have better served its freshly oddball lead.
  14. Even with three charismatic leads, the talky, convoluted nature of the cat-and-mouse between Zhang and Huang and their respective gangs is impossible to follow or care about, and the mix of identity comedy, cartoonish violence, philosophizing and grief over killed loved ones is hardly smooth.
  15. Spending more observational time with her smart, resilient and stirringly positive subjects -- even seeing less-edited footage of their business plan speeches -- might have helped sell her inspirational story.
  16. The film often defies expectations but also winds up sidestepping the kind of trapdoors and quicksand that might have made the ride more exhilarating.
  17. Red 2 is much more of a mixed bag than it should have been.
  18. Too much of the film is not inspired enough in its humor to overcome the queasy feeling that comes from watching a comedy-adventure involving Jews during the Holocaust.
  19. That the plot is the problem comes as something of a surprise given Monahan's pedigree. The well-regarded screenwriter ("Body of Lies," "Kingdom of Heaven") won an Oscar for the deliciously conflicted cops and crime twister of 2006's "The Departed."
  20. Jang and screenwriter Park Sang-yeon recognize the situation's senselessness but can't resist ramping up the melodrama and celebrating the heroism of the battle-fatigued soldiers. These contradictory impulses, combined with the film's undercooked characters, make The Front Line a war movie not quite worth engaging.
  21. This intriguing hybrid is dramatically involving only when the shooting - with real bullets, naturally - gets underway.
  22. Though it boasts great performances and urgent, intimate camera work, "Holy Ghost People" diminishes as it progresses, enervated by its prioritization of scares over cohesion and a voice-over that tells everything it should show.
  23. Contends that doctrines, including promoting unilateralism, increasing military spending and protecting "access to vital raw materials, primarily Persian Gulf oil," can be traced from right-wing think tanks into U.S. foreign policy.
  24. As a loving tribute to the courage and sacrifice of firefighters, it's first-class. As a movie, it's a TV show.
    • 69 Metascore
    • 50 Critic Score
    I'd like to think the earnest sentiments and machine-tooled dramatic complications of Wells' script could find a receptive audience in late 2010. I'd like to think, too, that the mess we're in demands a gutsier script. Good cast, though.
  25. Though more brutish than elegant, The Whistleblower does have a certain charged, unvarnished power in its examination of how people can harm those they are enlisted to protect.
  26. Newsies becomes a string of set-pieces, some of which work, some of which don't, all barreling full-speed ahead toward its Teddy Roosevelt deus ex machina. [10 Apr 1992]
    • Los Angeles Times
  27. A series of miscalculations caused this project to lose its way, until what we're left with is a film that should involve us more than it does.
  28. Wants to be an honest look at the problems that can beset a modern marriage, and be funny at the same time, but it doesn't have the skills or the temperament to pull all that off.

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