Los Angeles Times' Scores

For 7,617 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 0.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Shakespeare in Love
Lowest review score: 0 BASEketball
Score distribution:
7,617 movie reviews
  1. Beowulf appears so cartoony, in fact, that the academy just put it on the short list of films to be considered for the Oscar in feature animation.
  2. Trashily in-your-face thriller, which leans heavily for its effects on intense sympathy pain, improbable reversals and the mystifying star appeal of Jessica Alba.
  3. Elegy seems determined to make real every ageist dig that could be thrown its way -- out of touch, balefully slow and, for a film at least partly about the zesty enterprise of sex, awfully lifeless.
  4. Aliens vs. Predator -- Requiem simply exists, nodding to the continuity of the larger series and opening the door for, yes, another entry in the franchise. In Hollywood as in outer space, spawn begets spawn.
  5. Overall, Charlie Wilson's War is glib rather than witty, one of those films that comes off as being more pleased with itself than it has a right to be. It also suffers from being not all of a piece, with mismatched elements struggling to cohere.
  6. CJ7
    As clumsy and awkward as his previous films were stylishly silly.
  7. For what is essentially a screwball comedy, Over Her Dead Body is surprisingly uninspired, a frothy concept that offers little satisfaction in the way of execution.
  8. A near continuous assault of clichés, Welcome Home Roscoe Jenkins doesn't become truly bothersome until its denouement, when it attempts to wring unearned sentiment from the inevitable, awkwardly staged family rapprochement.
    • 40 Metascore
    • 40 Critic Score
    A middling, if stylish, psychological thriller making a perfunctory big-screen pit stop before its DVD release next week.
  9. The truth is that two other films with Greengrass' name on them, "The Bourne Supremacy" and "The Bourne Ultimatum," have spoiled us for this kind of thriller filmmaking, and stacked against that, Vantage Point doesn't have a chance.
  10. As over-the-top as Raven-Symoné and Lawrence are, the most live-action cartoon characters in College Road Trip are the father-daughter tandem of Doug (Donny Osmond) and Wendy (Molly Ephraim), whose nitro-powered perkiness pass the point of grating and move into a perversely antic state of grace.
  11. Lacks any sort of urgency or inner propulsion; the actors do their little goofs, then hand them off to the next, lending the jest the frolicking but ultimately monotonous quality of a game of tag.
  12. It is easy to see the film as two movies crammed together, neither of them being very good.
  13. A dreary experience.
  14. There is never a sense that The Fall exists for any reason besides simply being something nice to look at. Yet no matter how good-looking a film may be, if it's as sleep-inducing as this, there's simply no point.
  15. The film's sunniest moments occur whenever song preempts all the fighting and smirking. Myers leads the cast in sitar-accompanied covers of such Bollywood favorites as "9 to 5" and Steve Miller's "The Joker," revealing a glimmer of the cross-cultural romp that could have been.
  16. It's a strange feeling to see the summer's most promising premise self-destruct into something bizarre and unsatisfying, but that is the Hancock experience.
    • 43 Metascore
    • 40 Critic Score
    Pays lip service to the joys of exploring new worlds, but it never steps off the tour bus.
  17. Isn't so much a movie as an extended sitcom -- it looks like one, it acts like one, it reduces everything to the lowest common denominator like one.
  18. The problem comes largely in the conception of the hooker-niece character, Amanda, played by Brittany Snow. Tolan never quite figures out whether she is supposed to be a variation on the hooker-with-a-heart-of-gold or a genuinely troubled teen.
  19. This is the kind of movie in which characters revere poetry, yet hardly anything about the writing (it's based on a stage play by Joseph O'Connor) or directing (by Tamar Simon Hoffs) qualifies as poetic.
  20. The film is suitable for all ages, but there's probably not enough fuel beyond cute chimps in Candyland to achieve orbit for the kids.
  21. Any film that uses the Stooges' drone-y song "We Will Fall" to underscore a drug-love scene can't be all bad, but they, as apparently does Uschi, deserve better than this.
  22. Though the new film has some good things, it does not have enough of them to make the third time the charm.
  23. Instead of depicting a boy's first steps toward manhood -- ceremony aside -- it turns into an uninvolving portrait of self-absorption.
  24. Despite some absolutely gorgeous animation and adjusting expectations for what Clone Wars is meant to be, the Force is not strong with this one.
    • 30 Metascore
    • 40 Critic Score
    Miller's flat, humorless yarn is set in Central City, a vacant metropolis whose only residents seem to be cops and crooks.
  25. The product's not 100% giggle-free: Several songs have amusing lyrics, especially parodies of "Juno" and "High School Musical."
  26. This is not a terrible movie, but it's too familiar by half and too confusing by a third.
  27. Though not strictly a religious tract, Henry Poole Is Here is undeniably selling spiritual reawakening. If only its makers believed that aesthetically useful adage: God is in the details.

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