Los Angeles Times' Scores

For 8,570 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 Road to Perdition
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
8,570 movie reviews
  1. Unfortunately for Man on the Moon, Kaufman is definitely a person more interesting to hear about than to experience, an acquired taste few will be tempted to acquire.
  2. Though aspects of it are entertaining, the presence of all these mismatched pieces give Spider-Man 3 an ungainly, cumbersome feeling, as if its plot elements were the product of competing contractors who never saw the need to cooperate on a coherent final product.
  3. The social bite of the popular novel fades into a generic chick flick.
  4. If it were a parody of relationship-youth pictures, In Search of a Midnight Kiss would maybe be tolerable, but writer-director Alex Holdridge seems to be playing it with a straight face.
  5. Unfortunately, each main character serves as an avatar emblematic of a societal symptom instead of a real person in whose shoes we can stand. As a result, their trajectories are didactic and predictable.
  6. Doesn't skimp on the life lessons or instant transformations. But the movie primarily exists to give amiable Everywoman Vardalos the chance to regain her kefi.
  7. Filmmaker Peter Rodger does a fairly comprehensive job of traversing the globe in 98 minutes, posing the age-old question, "What is God?"
  8. Instead of underplaying the story's escalating tempestuousness it pushes it over the top; time and again the film begins to catch fire only to be doused in silliness.
  9. A blandly diverting, chastely conceived and grammatically challenged fairy tale for our bland, chaste and grammatically challenged age.
  10. The setting is striking, the cast impressive. But Two Men in Town, a drama that's built on dread and circles the question of redemption for a newly released prisoner, falls short of the mythic territory it aspires to.
  11. The busy star (Cage) acquits himself well enough in this otherwise rudimentary thriller from deliriously unsubtle director Roger Donaldson.
  12. Ghaffarian's story plays out within such a generic framework, and with such self-importance, that it's all too easy to remain untouched by the onscreen events.
  13. It's strange that in this somber inspection of moral fiber and what causes it to fray, De Palma couldn't have made his hero at least as interesting as his villain, and both of them at least as complicated as they were in life.
  14. On the surface, Anderson seems to have all the necessary pieces for a surreal psycho pop. But the fear factor eludes him, leaving Stonehearst Asylum more insipid than insane.
  15. Any comic relief it affords comes with such an undertow of repressed emotions and displaced anger that it all starts to feel more depressing than dramatic.
  16. So, while the movie at times warmed my own middle-class, private school-educated cockles to a toasty complacency, there's an undercurrent of friendly fascism running through it like a nasty draft.
  17. While Malick's great ability holds us for a time, it is finally not enough to compensate for a lack of dramatic involvement - those eschatological quandaries tend to overwhelm the story. The Tree of Life, its enormous advantages notwithstanding, ends up a film that demands to be admired but cannot be easily embraced.
  18. Drags its uninspiring action out too long for anyone's good.
  19. Janie Jones is ultimately its own uneven tune, a mixture of discordant notes and way-too-familiar chords.
  20. Wooden performances by forgettable, generic actors -- again, just like in the original -- don't aid in making things any less leaden. Perhaps this is the best one can hope for from something like My Bloody Valentine 3-D, that it be just good enough to not be annoying. Or in this specific case, physically painful.
  21. A flawed time-travel love story, benefits from Meg Ryan's reliable perkiness and establishes Australia's Hugh Jackman as a potent romantic leading man. These and other pluses, however, cannot overcome the film's inability to come alive for a full hour and 20 minutes.
  22. Not as bad as Bobby's mother's lasagna, neither is Brooklyn Rules anywhere near the best you've ever had, though at times, it may remind you of it.
  23. The very act of writing critically about Superhero Movie inspires something of an existential crisis -- no one likely to turn out for it is reading this review, and anybody reading this review is probably not inclined to see it under any circumstances.
  24. As the story of a wallowing pig, Choke is often pretty entertaining, but when it comes to where-do-I-come-from poignancy, it can't always keep from gagging.
  25. The problem is that the first half of Infamous is nowhere near as comic as McGrath intends. Instead the picture gives off a tone of arch stylization that plays as artificial, overwrought and off-putting.
  26. A technically inventive, thoughtful, but otherwise not particularly earth-shattering movie.
  27. The movie is at once a flagrant piece of kitsch and an unexpectedly affecting story about an individual overcoming personal tragedy and brutally restrictive circumstances by talent and force of will.
  28. All dressed up with no particular place to go, this 22nd Bond film tries hard but ends up an underachiever.
  29. As a bored baker with an overactive imagination, the wonderful French actor Fabrice Luchini is the only reason to see Gemma Bovery, a mildly amusing riff on Flaubert. H
  30. It all hangs together, more or less, which seems like enough.

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