Los Angeles Times' Scores

For 9,751 reviews, this publication has graded:
  • 57% higher than the average critic
  • 5% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Heli
Lowest review score: 0 The Cell
Score distribution:
9751 movie reviews
  1. A lifeless pingpong comedy that ricochets from one flat gag to the next.
  2. Unfortunately, Merson clutters her sometimes soulful, sensitive story with too many formulaic contrivances to impede Catherine's personal and professional progress.
  3. This single cautionary tale of how drug innocence gives way to woeful, hung-over experience proves to be way too predictable to effectively caution or even involve anyone.
  4. A chronological brain-teaser confounding enough to keep you busy trying to figure out whether those holes are in the story or in your logic. But ultimately the movie is more interested in the love part of the equation than in the whole crazy, madcap physics part.
  5. Above all this is a film for gluttons for punishment, for those who never ever can get enough of Sylvester Stallone. Everyone else, please leave the building.
  6. When Love works, Noé achieves a lulling, melancholic frenzy about sex and memory, but the foundation isn't strong enough to make his movie ever seem more than a stereoscopic fermata: one envelope-pushing note held way too long.
  7. There's power and authenticity here. And by the movie's incendiary climax, some tension. If only it were presented in a more magnetic package.
  8. It's a wonderful piece of filmmaking, but once any mouth is opened the magic is immediately tarnished.
  9. Everything in Matchstick Men moves and looks right, from John Mathieson's cinematography to Tom Foden's production design, so it's puzzling that the film fizzles rather than fizzes.
  10. Beyond his (Reeves) performance, the film's ungainly mix of heist, romance and backstage comedy never jells. It's never painful, though, especially when James Caan and Vera Farmiga are onscreen. But there's only so much life anyone could breathe into this inert caper.
  11. By the end, Ross’ initially disarming fusion of cleverness and whimsy has curdled into a dispiritingly familiar mix of sentimentality and self-satisfaction.
  12. The Wild Life is a family-friendly take on the story of Crusoe, with a twist, and kids no doubt will be drawn to the colorful animal characters, but there's a lack of emotional connection that makes the film just another cartoon flick, not a special favorite or animated classic.
  13. The film's insistence on laughter through the tears too often feels strained.
  14. The Hawkins brothers have an envelopingly moody visual style that strives for offbeat touches, at times easily conjuring the existential threat in desolate areas. But that can't make up for the story deficiencies and character superficiality in the script.
  15. Kattan and Ferrell do their best to fill out the shallow Butabis.
  16. Though it is always pleasant and agreeable, this film has the bland and undemanding texture that characterizes movies made for network TV.
  17. Kawalerowicz directs with briskness and vigor but cannot keep the first half of his film from slipping into tedium.
  18. Though the movie’s well cast, its central story rarely shakes off the derivative cloak to become involving. But Ron Livingston’s turn as a sorrowful Elvis Presley is a quiet revelation.
  19. After a while, the only way for a reasonably intelligent person to get through The Country Bears is to ponder how a whole segment of pop-music history has been allowed to get wet, fuzzy and sticky.
  20. Though the film's second half has some good action moments, it never fulfills the promise of its earliest scenes.
  21. Bogliano — who hit it big in indie horror with "Penumbra" and "Room for Tourists" — is a mood man, adept at unease and admirably judicious about shock moments, if not exactly skilled with storytelling or pacing.
  22. Too many of the characters are either good or bad, and that loss of nuance is missed.
  23. National Treasure is as doggedly hokey and ham-handed as a Disneyland ride.
  24. What aims for Hitchcockian slyness ends up an inconsequential jumble in the comedy thriller The Perfect Host.
  25. It has some heartfelt performances and a nice, nondescript vibe, but it's largely unmemorable.
  26. Even with satisfying performances from the principal actors, Poster Boy is longer on energy than focus.
    • 39 Metascore
    • 50 Critic Score
    It's a shame the film's first two acts are such a grind since there's actually a decently wrought resolution to it all. But by then, between the youngsters' more-is-less acting (Ray Liotta fares only slightly better as Billy's madcap dad), feeble stabs at humor and overreaching profundity, it's too little, too late.
  27. Somehow when State of Play should be at its stomach-clenching best, the tension simply evaporates.
  28. An emotional runaway of a film that carries neither the insight nor the uplift to make the weight of its dark journey worth it.
  29. Although Michael J. Kospiah's script isn't exactly predictable or didactic, it does feel contrived and improbable on occasion.

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