Los Angeles Times' Scores

For 9,829 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 Top Spin
Lowest review score: 0 Bio-Dome
Score distribution:
9829 movie reviews
  1. The film is at its best when it's just Brody stuck in the car.
  2. If only the falling-in-love machinations and character details weren't so wispy, Tonight You're Mine might have had more resonance. That said, the film has its moments.
  3. On the whole, Chain Camera is encouraging.
  4. Snarkiness and sentiment are in constant battle for supremacy throughout Run, Fat Boy, Run with no chance of a comfortable draw.
  5. A hyper-realistic-looking, character-driven story of survival with talking dinosaurs that can't decide whether to inform or entertain. The film and its featured creatures do a little of both but modestly.
  6. There are, thankfully, a few humorous and imaginative touches here and there, but Alien Nation is hardly inspired.
  7. If only anything felt at stake in this story's dark spiral.
  8. You can't really hate The Lightkeepers. You can only wish that writer-director Daniel Adams had invested the movie with equal measures of originality and quaintness … and maybe told Dreyfuss to tone down the whole sea captain thing.
  9. Thor has its strengths, but it is finally something of a mishmash with designs on being more interesting than it manages to be.
  10. The film becomes a dizzying descent into a world of contradictions, military illogic and ineffectual bureaucracy.
  11. Unfortunately, the athlete himself simply isn't much of a presence in this documentary, even as the film aims to celebrate him.
  12. Brick Lane has been whittled down from Monica Ali's expansive 2003 novel into a glossy but overly efficient drama that, like Nazneen's husband, is ultimately too ineffectual to make much of a dent.
  13. This meandering lark about a corrupt, spiteful and hopelessly distracted police force in a decriminalized, sun-scorched city never quite finds the funny bone.
  14. Gimme Shelter, a ripped-from-real-life story of a pregnant teen's journey toward hope, is filled with very good intentions, very bad dialogue and a surprisingly affecting turn by its star Vanessa Hudgens.
  15. It does not have as much invigorating freshness as audiences have come to expect in computer animation.
  16. Unless you're on this spiritually noodling movie's wavelength — an easier proposition when the great McKee is singing (she wrote the music with Akin) — this is narratively thin, tone-poem stuff
  17. Not without its funny moments, much of Birdcage seems pro forma and predictable. What felt original in 1978 is no longer half so inspired.
  18. It's just all too breezy to have any real effect.
  19. A lifeless pingpong comedy that ricochets from one flat gag to the next.
  20. Unfortunately, Merson clutters her sometimes soulful, sensitive story with too many formulaic contrivances to impede Catherine's personal and professional progress.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. It's a wonderful piece of filmmaking, but once any mouth is opened the magic is immediately tarnished.
  27. 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.
  28. 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.
  29. By the end, Ross’ initially disarming fusion of cleverness and whimsy has curdled into a dispiritingly familiar mix of sentimentality and self-satisfaction.
  30. 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.

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