Los Angeles Times' Scores

For 8,040 reviews, this publication has graded:
  • 59% higher than the average critic
  • 4% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 0.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Boy Meets Girl
Lowest review score: 0 Lethal Weapon 4
Score distribution:
8,040 movie reviews
  1. Airbender, whether intentionally or not, is pegged almost exclusively to a small-fry state of mind.
  2. Isn't a remake, really. It's a "reimagining," which is a sparkly word for what happens to a beloved TV hit of yesteryear when it's cannibalized by committee.
  3. Unengaging and uninspired and that leaves far too much unexplored.
  4. If they had to make things up, couldn't they have made up something smarter?
  5. Like Freeway, the lovable stray dog at the center of this very teary comedy, Darling Companion has lost its way. Even the marquee ensemble anchored by Diane Keaton, Dianne Wiest, Kevin Kline and Richard Jenkins is not enough to rescue this motley mutt of a movie.
  6. After scoring big in 1998 with "Mary" - the zipper issue, the "hair gel" mix-up, the roving troubadours - their (Farrelly brothers) raw inventive edge has never been quite as sharp. Hall Pass, starring Owen Wilson and Jason Sudeikis, continues that creative slide into everyday crude.
  7. There's an underlying emptiness to Human Traffic and it's difficult to say for sure whether Kerrigan fully acknowledges it.
  8. Any sort of new insight into comedy's darker themes, to say nothing of life's, eludes Funny People. Instead Sandler and Rogen and the rest are left to wander aimlessly, with tedious comedy gigs, an even more tedious faux sitcom and relatively vapid relationships masquerading as a plot.
  9. It's too over-the-top, too lurid and at times simply too silly to represent any kind of valid commentary on the repressive '50s or the way in which institutions tend to destroy rather than cure. "Far From Heaven," which nailed '50s angst to perfection, Asylum could not be farther from.
  10. A handsome, intelligent film of rigorous austerity; unfortunately, for all its seriousness of purpose and fine performances, it's also a boring film about boring people.
    • tbd Metascore
    • 40 Critic Score
    Because Emory doesn't grapple fully with the issues that loom over the film, there is something soppy and soft-headed about Inlaws & Outlaws.
  11. The satire is sagging, the irony's atrophied and the funny is flabby.
  12. Pretty much all the things that made the original so original are filtered out of this un-original.
  13. It's really just an overstuffed story that comes off not as layered but rather as an unfocused jumble.
  14. Sophisticated romantic comedy for people who think "Corky Romano" is trenchant political satire.
  15. Fluffy and mild to the point of somnolence, it can't even get the full benefit of its strongest asset, Glenn Close's performance as the grasping virago Cruella DeVil.
  16. Kirkland manages to rise above the soap opera script with its improbable twists, stilted dialogue and internal contradictions to give a believable and often-sympathetic performance.
  17. Maxwell has populated his film with paragons rather than people. Worse, they talk and talk and talk; this film is in danger of talking itself to death before the Union and the Confederacy are able to decimate each other.
  18. Efficiently told and features solid performances, but without the juicy character detail, vise-grip suspense or black comic intensity of its memorable forerunners, it unwinds as a boilerplate genre item.
  19. There is no real plot either; instead the narrative seems designed to get this prehistoric pair from one funny sketch to the next, which sometimes works and sometimes doesn't.
  20. Cassadaga tries to scoop up enough tropes to satisfy a wide range of potential fright fans but lacks the cohesion to ever truly be effective.
  21. The movie unravels pretty quickly as Caleo almost immediately gives away the "what" but remains marginally entertaining as he manages to maintain some suspense in the "why" and the "how" before blowing the genre completely by going soft in the resolution.
  22. A glum British kidnap movie in which writer-director J Blakeson manages to generate tension and some suspense, never rises above the mechanical and contrived, finally lapsing into the improbable.
  23. A woeful little comedy that runs out of steam shortly after its opening sequence.
  24. 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.
  25. In trying to qualify as mordant satire, charming rom-com, uplifting buddy movie about underdogs trying to stick it to the man and the most meta story ever told, L.A. Twister sprains itself badly.
  26. This is a movie for younger children -- they won't notice that the children deliver their lines with all the conviction of an airline flight boarding announcement.
  27. For all of its class-act bona fides, Evening lurches between the morose and the sentimental, with occasional incursions into the absurd.
  28. Because it's all shot to look like a South Korean noir, with umpteen slo-mo shots and stylistic noodlings to affect a kind of grimy urban anti-hero chic, Christensen effectively leeches the emotion from the central story.
  29. A dreary experience.

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