Los Angeles Times' Scores

For 7,414 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 The Firm
Lowest review score: 0 Showgirls
Score distribution:
7,414 movie reviews
  1. With its telegraphed twists and clunky pacing, the film would be unbearable were it not for the fine trio of Craig, Weisz and Naomi Watts, all more or less slumming.
  2. Courageous, proves a particularly clunky, tunnel-visioned vehicle whose overbearing, overlong script nearly smothers the movie's quibble-free message.
  3. There's a strange sort of diffidence that seems to inhabit Dafoe and Roberts' performances, and the disconnect between the two Janes is simply insurmountable.
  4. As good as Worthington, Chastain, Moretz and Morgan can be as they try to untangle the morass and the menace - and get caught up in it - they just can't quite pull it off. The real killer, sadly, is the script.
  5. The "Midnight Run" meets "Bonanza" idea isn't exactly a terrible one, but writer-director Mike Pavone has only one point-and-shoot gear, whether the scene is light comedy, dysfunctional family drama or western-tinged gunplay. (Even television shows these days exhibit more directorial flair and editing variety.)
  6. The movie's few pleasures, though, do belong to Gere, who makes the most of his preening caginess as a spook thrust back into the cold. Grace, though, comes off more whiny than tantalizingly adversarial.
  7. Winds up feeling scattershot and unfocused. Rather than capturing punk brattiness maturing into wary adulthood, director Andrea Blaugrund Nevins might have been better off simply making a film solely about Lindberg.
  8. After a grating start, the movie, directed by Peter Odiorne from a script by Gail Gilchriest ("My Dog Skip"), finds its way into warmer, more likable territory. That is, until it flies off the rails in a third act so devoid of logic it could have been concocted on the moon.
  9. The film doesn't have nearly the bite - ferocious or delicious - that any self-respecting vampire movie really should. It's as if all the life has drained away.
  10. We have a fumbling and fawning - if sincere - tribute to the living legend and a director who has never seemed more out of his element.
  11. W.E., Madonna's second go at directing a feature film, leaves one wishing she'd find other creative outlets for those times when she's bored with the pop-star life.
  12. When the filmmakers move into Nobbs' isolation, though, the movie flags - a surprise given Garcia's excellent work on HBO's minimalist personality study "In Treatment," on which he wrote and directed extensively.
  13. Capable and compelling performers like Hirsch and Thirlby seem left to their own devices to make some connection with the material. The idea of semi-invisible aliens, an unseen enemy, should mean the film has a lingering sense of paranoid abstraction (not unlike "Right at Your Door"), but Darkest Hour never gets beyond rote efficiency.
  14. Fitfully enjoyable, the film's leaden pacing and drawn-out running time make the twists of the plot less hairpin turns and more like bends in a river - moving so slowly you can see everything coming from the distance.
    • 46 Metascore
    • 40 Critic Score
    Flowers abounds with well-worn movie archetypes and slathers on schmaltz.
  15. Director Xavier Gens seems to have set out to fashion a taut, under-siege thriller, but he never lets the innate drama of the situation play out; too often, events are accompanied by loud thumps and whooshes on the soundtrack.
  16. A uniquely frenetic hodgepodge of story lures.
  17. This is a movie that leaves you wanting more. To care more, to cry more, to love more.
    • 34 Metascore
    • 40 Critic Score
    A self-indulgent pilgrimage to the shrine of '70s fabulousness, Ultrasuede: In Search of Halston assembles a fine assortment of archival material but falls far short of its stated goal.
  18. A strange and troubling little film, a hermetically sealed creep-fest that seems to have no desire to be anything more than just that.
  19. The first "Ghost Rider" film, directed by Mark Steven Johnson, was sort of a fizzy goof, the kind of movie where you don't expect much and then think, "Hey, that was actually kind of fun." Spirit of Vengeance, though, is undone by increased expectations, as promising more only makes it feel they are somehow delivering less.
  20. This movie version adds a whole lot of other stuff, most of it not very good and not in keeping with the spirit of the Seuss original.
  21. That John Carter is so hit and miss, and miss, and miss is unfortunate on any number of levels.
  22. The film is at its best as a fast-paced enigma. When Kentis and Lau start explaining what's actually going on, Silent House takes a turn not just for the worse but the ludicrous.
  23. Goon feels like a movie starring a gimmick, not a person.
  24. The naughty-yet-nurturing tone is certainly unusual, but in working so hard to be the adult who "gets" kids yet lectures them at the same time, he's ended up with a colorful but superficial mess.
    • 67 Metascore
    • 40 Critic Score
    Stillman too often substitutes pith for insight, until even that is drowned out by the sound of him chortling into his sleeve.
  25. ATM
    Screenwriter Chris Sparling worked in confined spaces to far better effect before with the minimalist Ryan Reynolds thriller "Buried." He must have used his best ideas there.
  26. Mostly Lockout is lost in space.
  27. For poker fans only.

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