Los Angeles Times' Scores

For 8,569 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 0.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Upstream Color
Lowest review score: 0 Miss March
Score distribution:
8,569 movie reviews
  1. 300
    300 is something to see, but unless you love violence as much as a Spartan, Quentin Tarantino or a video-game-playing teenage boy, you will not be endlessly fascinated.
  2. When it comes to special effects, the filmmakers have spared no expense. But when it comes to the story, audiences have been shortchanged.
  3. What keeps Godspeed from lasting power are its melodramatic swerves and less-than-revelatory acting. But despite its fissures in tone and technique, Godspeed occasionally plays like a sturdy indie outpost of revenge cinema.
  4. With Snow Flower, the filmmaker is forever torn between two childhoods, two adulthoods, two distinct political and social eras, and two complex relationships, unable to make both equally relevant.
    • 28 Metascore
    • 50 Critic Score
    Putting a spin on classic fairy tales is nothing new, and unfortunately that's just what the "Shrek"-lite animated feature Happily N'Ever After brings to the big screen.
  5. Only a teenage boy could find this kind of stuff continually diverting, and only a teenage boy would not notice flimsy emotions and underdeveloped acting. It seems George Lucas, like Peter Pan, has never really grown up.
  6. Get Smart neglects the laughs and amps up the action, resulting in a not very funny comedy joined at the hip to a not very exciting spy movie. Talk about killing two birds with one stone.
  7. If, as someone says in one of Brooks' trademark excellent lines, we all feel we're "one small adjustment away from making our lives work," this film is one small adjustment away as well.
  8. Although the performances are uniformly on point and the dialogue is tartly British, the film ultimately fails to earn its riotous stripes.
  9. This portrait of strong, independent women grappling with change in their individual lives holds initial allure, but the effect proves ephemeral.
  10. Josh Goldin, a longtime screenwriter whose credits include "Darkman" and "Out on a Limb" -- and whose wife is a writer at the L.A. Times -- makes his debut as a writer-director with Wonderful World. The results of Goldin's dual efforts are promising but uneven.
  11. A Case of You is perfectly enjoyable as far as indie rom coms go — just not particularly original.
  12. A poignant, ambitious romantic comedy that overreaches its premise with a hopelessly convoluted denouement; it plays like a last-minute attempt to pad out Tori Spelling's part to justify her star billing.
  13. Despite being structured in an intriguing way -- bits of confusing action are shown first and explained later -- The International never finds its footing.
  14. Leigh piles up woe wider and higher than ever before. That he has done so with his usual skill, perception and alertness to relieving gestures of human tenderness and care does not keep All or Nothing from being a pretty glum, overly familiar business.
  15. The difficulty is that Brassed Off operates at an emotional pitch that starts at a crescendo and never relents--rendering almost everything equally inconsequential.
  16. For all his attention to the exactitude of creating righteous cocktails, Tirola never quite nails a specific structure, focus or theme.
  17. As (DiCaprio's) character heads for The Beach's predictable heart of darkness denouement, only die-hard fans will have the heart to tag along.
  18. Jackson modulates Abel's internal turmoil and heated exchanges with enough shades of loneliness, steely generosity and wicked playfulness to give the actor firm control of our fascination and growing unease.
  19. Brief enough, clocking in at 83 minutes, but its story is too predictable to make an impact even in such a short space. Unlike "Toy Story," the dialogue here, written by Todd Alcott and Chris & Paul Weitz, is pro forma all the way.
  20. Though the film is peppered with one-liners tailor-made for Spacey to sling with stinging effect, it doesn't so much leave you laughing as just weary, and wishing this weren't a true story at all.
  21. The action unwinds with the mechanical artifice of a creaky play, though Nadda creates a few strikingly cinematic moments.
  22. An underwhelming jumble.
  23. Feels like it was written by an oddball artist-temp type with an ax to grind - which, as it happens, it was.
  24. Likely to be best appreciated by dedicated sci-fi fans, admirers of Dick in particular. It hasn't the stupendous razzle-dazzle of a mega-budget picture like "A.I. Artificial Intelligence."
  25. Ross' missive is earnest and well-intentioned, but it's difficult not to feel that his film both runs on too long and overreaches its dramatic resources in its attempt to deliver it.
  26. Does little to unravel the riddle of the title. Unless you are already a fan of Castaneda, the film is likely to leave you feeling as though you've just watched a very long, lost episode of that old TV series "In Search of ..."
  27. There are moments in Kaena that are absorbing, but too much of the time it simply becomes tedious.
  28. One would almost be inclined to give Morgan a pass for interviewing some of his executive producers as expert sources. A bigger disappointment is the missed opportunity to address the significant retailer markups that could have gone toward improving sweatshop conditions instead of profit margins.
  29. The "Die Hard" series was never exactly big on nuance, but this new installment relentlessly zeros in on sensation. It's almost sadistically single-minded. [19May1995 Pg.F.01]
    • Los Angeles Times

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