Los Angeles Times' Scores

For 7,511 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 A Separation
Lowest review score: 0 Carpool
Score distribution:
7,511 movie reviews
  1. Like its characters, the film keeps getting lost too, stumbling as it struggles to keep kids and adults from squirming in their seats.
  2. A sour romantic comedy, only sporadically amusing.
  3. Blood's only surprise is that the filmmakers landed Gianna (also known as Gianna Jun, or Jeon Ji-hyun) for the lead. The South Korean megastar proves a more-than-capable action heroine, despite the creative detritus around which she has to navigate.
  4. So a pioneering feminist in the hands of a feminist filmmaker should have been a perfect match. But like her subject, the filmmaker gets lost in the clouds.
  5. While this film fits squarely into Soderbergh's recurrent goal of ignoring audience interest when possible, that's the only area in which it can be considered a success.
  6. That this superficial romance between a successful self-help author and a nurturing florist is also a film about overcoming the tragedy of losing a loved one only makes its clichéd insipidity that much more irksome.
  7. Ironically for a film revolving around psychotherapy, Shrink doesn't stand up to analysis.
  8. An interesting idea, but unfortunately, the film's narrative and emotional engine operate as mechanically as the titular, dead-eyed glamazoids.
  9. It lapses into that familiar category of movies that go in for lots of fancy obfuscation along the way only to make its story seem all the more simple, trite and contrived by the finish.
  10. Ultimately it's the characters who are the joke -- too thin, too vacuous, too unlikable for us to care what happens in the next 30 minutes, much less for the rest of their lives. Too bad, really, because the truth is Gervais is a very funny guy. The ugly truth is that The Invention of Lying isn't -- funny, that is.
  11. It has its successful moments but it's surprisingly inert overall, more like a Burton derivative than something he actually did himself.
  12. The film's greatest sin isn't its cynical moral posturing but its complete failure to engage audiences on even a visceral level.
  13. It's revealing that writer-director Dave Boyle has said that in a way he fulfilled his lifelong ambition to be a cartoonist with the live-action White on Rice because his people in this wan, trite and increasingly silly comedy are little more than stick figures.
  14. Peter and Vandy has the decided disadvantage of arriving a couple of months after the similarly structured "(500) Days of Summer," a movie sporting a sunnier sheen, more appealing cast and an actual reason to care about the outcome.
  15. Elephants aside, the plot of this Ong Bak is rudimentary at best.
  16. Here's the surprise of the new incarnation of The Wolfman, starring Benicio Del Toro -- there isn't one. No bite either, or humor, or camp.
  17. Despite its obsession with décolletage, Bitch Slap is surprisingly puritanical (much teasing, no pleasing), substituting plentiful violence and a howlingly predictable "shock" ending for the payoff it promises.
  18. The prospect that this role would officially shift Bettany to a bigger stage, taking him from the character roles that have become his specialty to leading man status, dies a sort of Darwinian death from bad plotting.
  19. The presence of the ever-reliable Steve Buscemi adds a welcome boost to Saint John of Las Vegas, an otherwise unremarkable debut feature from writer-director Hue Rhodes.
  20. It's difficult to get into its "What would I do?" vibe, though, through so thick and transparent a barrier of contrivances.
  21. This is generic filmmaking at its most banal, a simple-minded simplification of a not overwhelmingly complex book.
  22. The material gets away from him (Stuart) quickly, leaving emotionally forced, clunky filmmaking that feels simultaneously rushed and dawdling, like a chopped-down TV miniseries. (It even has natural commercial breaks.)
  23. Try as they might, Nicole and Milo, as they are called in the movie, don't steam. Wispy vapors is about as good as it gets.
  24. Instead of invitations, they should be sending out apologies for Our Family Wedding, a cake-and-kisses comedy that has disaster written all over it and not for the right reasons.
  25. There's a key organ missing from the movie itself: a brain. In its place is a memory bank of other, better movies.
  26. One of those maudlin romantic melodramas you just can't warn folks off.
  27. Good slapstick is actually an art -- unfortunately not one practiced here -- and bad slapstick is just tedious.
  28. A romantic drama with some good qualities -- among them earnestness and strong performances -- but not enough to completely overcome the strain of its clichés.
  29. The satire is sagging, the irony's atrophied and the funny is flabby.
  30. Rather than some deeper understanding of the human condition, what we get from Multiple Sarcasms is a lot of heavy breathing.

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