Los Angeles Times' Scores

For 8,703 reviews, this publication has graded:
  • 58% higher than the average critic
  • 4% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Aatsinki: The Story of Arctic Cowboys
Lowest review score: 0 Saw VI
Score distribution:
8703 movie reviews
  1. At a certain point, though, the movie runs out of eccentricity capital and becomes just another contest documentary about determined participants — in this case, mostly obsessive young white men — and the well-worn narrative of defeat or accomplishment.
  2. While Alien Trespass stays true to the era and the genre, it forgets that its mission in this galaxy is not merely to pay tribute but to entertain.
    • 51 Metascore
    • 50 Critic Score
    That anyone manages to care remotely about what's going on despite all this is a tribute to Bullock's appeal. She remains a disarmingly winning performer, though here she's saddled with some clunky, cliched bits of behavior.
  3. The Package is uncomplicated guy's guy movie time, the screen version of the starchy passing pleasures of bar food.
  4. A trifling historical fantasy, gossip wrapped in gossamer, beautiful to watch but it takes only a light wind to leave the story in tatters.
  5. Beautifully envisioned, badly constructed, the only truly terrifying things in the new horror movie Mama are the fake tattoos, short black hair and black T-shirts meant to turn "Zero Dark Thirty" star Jessica Chastain into a guitar-shredding, punk rocker chick.
  6. Thanks for Sharing is a bit like the recovery scene it digs into — filled with intoxicating highs and dispiriting lows.
  7. The longer it goes, the more frustrating it becomes, as Bar Lev declines to come down on one side or the other.
  8. What it really is is an unapologetic cartoon, a harum-scarum endeavor that's so comically frantic it wears you out as much as it entertains.
  9. Family Weekend is no worse than many of the dysfunctional family comedies that populate the Sundance Film Festival — "Little Miss Sunshine" is name-checked within the movie itself — but isn't any better either.
  10. The proceedings can seem less like a fresh retelling of a seminal story and more like, despite stabs at grit and terror, a theatricalized, dewy-eyed version of days past.
  11. A nod to Fellini--and that "half" turns out to be a typically dark Greenaway twist. Yet this film, one of Greenaway's most amusing and accessible, actually arrives at moments of tenderness, even love, fleeting though they may be.
  12. Biyi Bandele's adaptation of Adichie's novel of loyalty and betrayal set against the turbulence of the 1960s Biafran war, certainly makes for an honorably propulsive wartime soap. It's just not stirring enough as historical drama.
  13. Statham's broody charisma and veteran cinematographer Chris Menges' ("The Killing Fields") eclectic views of contemporary London help hold interest, even as we ponder what Knight is really trying to say.
  14. A standard-issue Hollywood family film about a boy and his dog growing up in a Southern small town during World War II.
  15. Though Reign of Fire's concept of a humans-versus-dragons smackdown is a good one, the way it's worked out on screen is more silly than compelling.
  16. Turns out to be a film that's interesting in spite of itself. It's less an impartial investigation than an advocacy film, having been hijacked by the members of the "inner sanctum."
  17. The film's long suit is the chemistry between the leads: Julian Adams, if occasionally stiff, has a strong, sometimes Matthew McConaughey-like presence; newcomer Gwendolyn Edwards shows spark as the beautiful Eveline.
  18. Far too conventional underneath all the trappings, you wish it would howl.
  19. The overall effect here is of parallel biographies juiced to feel important whenever they intersect, and an undercooked paean to lost masculinity.
  20. The four individuals' narratives are not always that compelling and make for a film best experienced on a strictly sensory level. Let the images wash over you and enjoy.
  21. A warm and pleasant romantic fantasy that shows BenGazzara and Rita Moreno to advantage but is better suited to the tube or the stage.
  22. +1
    In trying to say everything, Plus One reveals it doesn't have much to say at all.
  23. Despite a few inspired moments and some fun banter, Portrait of a Serial Monogamist is a slight, often random lesbian comedy that offers little new in the way of authentic depth or enlightenment.
  24. The film's underlying concept is so irredeemably screwy and far-fetched that no amount of fine work can hope to make it convincing.
  25. A stylish, serviceable recounting of Saint Laurent's life from the late 1950s through the '70s. But watchable as it may be, this drama lacks intimacy and urgency.
  26. So unashamedly confusing, so intent on piling twist upon twist upon twist, it makes your head hurt just trying to figure out what's happened.
  27. There is a guilty-pleasure quality to watching Atkinson at work even when Mr. Bean has overstayed his welcome. The film's lightness makes you wish you were the one headed to the beach.
  28. Not only does it feel like an exclusive party at which there is definitely no room for the uninitiated, its waves of idolization barely leave room for the band itself. Good as they are, They Might Be Giants deserve a better film.
  29. Whatever else Proyas has done in Knowing, he has created an ending that is sure to divide audiences into camps of love it or hate it, deeming its message either hopeful or hopelessly heavy-handed. For me, it doesn't quite work; still I'm glad he took the risk.

Top Trailers